The New York Times' Scores

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For 20,268 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 9,377 out of 20268
  2. Mixed: 8,427 out of 20268
  3. Negative: 2,464 out of 20268
20268 movie reviews
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  1. The Five Devils
    Smell is perhaps the most opaque of the five human senses; the one that’s hardest to put into words. No wonder it’s key to the uncanny intrigues of the film, part queer love story, part supernatural psychodrama, by the French director Léa Mysius.
  2. What the Hell Happened to Blood, Sweat & Tears?
    The film frames them as having been somehow embroiled in a political situation, rather than actively, knowingly engaged in it — and its attempts to remain apolitical and focus on the music are as naïve as the band’s.
  3. The Lost King
    Though raising serious questions about the way history is written, and by whom, The Lost King isn’t a polemic, or even a biopic. It’s a quietly droll detective story, a warm portrait of a woman who lost her health and found her purpose, exhuming her self-respect along with Richard’s bones.
  4. A Good Person
    Braff is going for something broader than indie naturalism, so perhaps the film calls for less subtle brushstrokes. But the result is something that rings with far less thoughtfulness than he’s clearly capable of (particularly in light of the opioid crisis that the film mentions), despite Pugh’s remarkable attempts to ground the story.
  5. Walk Up
    A conversation falters. Another bottle is opened. Three people share drinks and their universe is completely reordered.
  6. Ithaka
    The documentary repeats three monotonous points: Journalists lie. Regardless, Assange is a journalist who deserves protection. Also, his family misses him a heck of a lot.
  7. Reggie
    Even as this movie goes deep on still vital topics, it doesn’t skimp on baseball dish.
  8. John Wick: Chapter 4
    There is simply and once again Reeves, the axis who centers this franchise with his grave sincerity, beatific glow and mesmerizing, rooted fighting style, with its heavy-footed solidity and surprising suppleness. No matter what happens, nothing ever feels as poignantly at stake here as Reeves’s own ravaged, beautiful, aging body.
  9. Full River Red
    At times, particularly in its overwrought closing act, the film feels as if it’s going to collapse under the weight of its relentless, convoluted twists. But the lighthearted tone poking through keeps it afloat, and suspends the viewer in mostly carefree entertainment for its two-and-a-half-hour running time.
  10. Are You Lonesome Tonight?
    Part exploration of the ravages of guilt, part homage to the stylish Hong Kong gangster flicks of the 1990s, “Lonesome” (written by Wen with Noé Dodson, Wang Yinuo and Zhao Binghao) wears its influences on its sleeve but is a cool and sophisticated debut feature.
  11. The Innocent
    The entertainment value of The Innocent lies not in the actual heist — which amounts to little more than a shipment of caviar at a truck stop — but in its lighthearted comedy, its by-the-numbers romance plot and its relatable family drama grafted onto an absurd premise.
  12. Rodeo
    The guarded Julia certainly intrigues, but too often the film sinks into the clichés of a rugged character study — no wonder she prefers to accelerate.
  13. Wildflower
    Shipka ably handles the responsibility of leading the story, but the director Matt Smukler has a harder time balancing the charming and empathetic ensemble performances with the script’s constantly judgmental tone.
  14. The Magician's Elephant
    In jazzing up the tale for the screen, Rogers sands down the somberness — Baltese is all fuzzy blues and pinks, with nary a trace of postwar grit — while turning up the silliness for gimmicky thrills.
  15. Shazam! Fury of the Gods
    Sandberg started his career in small horror films, and doesn’t seem to have much ambition to scale up. Most of the sequences are cut from medium shots strung together without much style — they may as well be a "Saturday Night Live” sketch.
  16. Inside
    It’s disruptive, and then cathartic, to watch Dafoe’s primal performance dominate this museum/mausoleum and force us to side with humanity. He’s perfectly cast in a part that calls for quietly whirring intelligence.
  17. Moving On
    Something else is missing here — a farcical energy or satirical audacity that might shock the premise to unsettling life, or else a deeper, darker core of feeling. Moving On takes refuge in pleasantness, and in the easy charm of its stars.
  18. Rimini
    We know there’s great tragedy and ugliness behind the smoke and mirrors, but we watch in amusement nonetheless. Sinisterly, Seidl reminds us how easy it is to turn people into objects for the taking.
  19. Boston Strangler
    Washed in an unappetizing sludge of grayish green, the movie aims for serious and settles on bilious. The real McLaughlin was a fascinating, pioneering newshound; you’re unlikely to find her here.
  20. Chang Can Dunk
    A funny and thoughtful high school comedy.
  21. The Holly
    It’s all a heady brew that leaves one wanting to know even more about Roberts, who is now running for mayor in Denver. The movie resists encapsulating him, or perhaps he escapes its director’s full understanding.
  22. Stonewalling
    Few movies capture the surreal comedy and engulfing horror of the money-driven world as piercingly as “Stonewalling.”
  23. Scream VI
    It’s tricky business balancing disturbing terror and jokey film criticism, and while this sequel occasionally pulls it off, the weight of obligations to the dictates of the franchise ultimately drags it down.
  24. 65
    Like Mills’s emotional back story, the special effects seem to have been pulled out of a box of secondhand ideas. Nor is the execution all that impressive. There’s little in the way of awe, suspense or surprise.
  25. Rewind & Play
    The film is not merely playback or payback on behalf of one Black artist by another. Rewind & Play dazzles because it is and will remain a wonder to witness Monk seemingly discovering his compositions again and again, his fingers conjuring, his right foot etching rhythms.
  26. Punch
    Flowing and keenly observant of its characters and setting, Punch swings above its weight class.
  27. 99 Moons
    Gassmann clearly wants to explore the state of love and sexuality in the 2020s — there are more than a few passing parallels to Joachim Trier’s “The Worst Person in the World” — but he succeeds only in conveying the pathologies of two people who can’t figure out what they want from each other.
  28. Champions
    The dispiriting experience of watching Champions is slowly realizing that, notwithstanding an off-color line here or there (a player with Down syndrome introduces himself as “your homie with an extra chromie”), it’s exactly the sort of formulaic crowd-pleaser that just about anybody might have directed.
  29. Luther: The Fallen Sun
    Lacking dialogue to deepen the characters or reinforce their motivations, Luther: The Fallen Sun whooshes past in a rush of serial-killer clichés: an underground lair, a torture room, a masked maniac
  30. The Magic Flute
    In a way it’s kind of neat. In another way it’s kind of dopey. The movie toggles between those two states throughout.
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