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. Unicorn Wars
    Unicorn Wars is forcefully provocative, trying too hard to push buttons at the cost of more nuanced explorations of masculinity and power. For Vázquez, a pile of cartoon corpses makes enough of a point.
  2. Therapy Dogs
    Watching its sequences, you can feel both the immediacy of each moment and the nostalgia that’s already seeping in — each snippet of life becoming, by the minute, just a flicker in the teenagers’ minds, like the flashes in the film’s montages, immortalizing their youth before it’s lost to time’s grasp.
  3. Film, the Living Record of our Memory
    For a documentary largely about archives, it should be better organized, but its breathless profusion of information underscores the scale of the task at hand.
  4. Split at the Root
    Split at the Root is a powerful lens into the emotional plight of the thousands of immigrants who cross the border into the United States, the danger they are fleeing and the people trying to help them.
  5. La Civil
    Its rigor is impressive, but also something of a narrative trap. Once the futility of Cielo’s situation, and her persistence in the face of it, are definitively established, a feeling of paralysis sets in.
  6. The Forger
    Peren is clever to favor mischief against a backdrop of gloom, but in doing so she draws a frustrating distance between her subject and the audience.
  7. Gods of Mexico
    This nominal portrait of people isn’t interested in what they have to say.
  8. Creed III
    As entertaining as it is predictable, Creed III does exactly what you expect, delivering nicely balanced helpings of intimacy and spectacle, grit and glamour.
  9. What We Do Next
    The result doesn’t make the best use of the medium’s powers, but the chatty ride does make for good food for thought.
  10. Palm Trees and Power Lines
    Dack takes obvious care to make sure that the filmmaking and camerawork don’t further exploit the character. Yet it’s a bummer that the ethical and political thoughtfulness that she extends during Lea’s most harrowingly vulnerable moments doesn’t extend to the rest of the movie.
  11. The Year Between
    This lived-in quality to the filmmaking supports equally relaxed performances from both veteran and emerging actors, making for an even-keeled and easy viewing experience.
  12. Operation Fortune: Ruse de Guerre
    The silly premise is one that a better Ritchie film could, with some charm, style and wit, have turned into a workable romp. But everything here is stuck on autopilot.
  13. Blueback
    It’s a mournful, stodgy, girl-meets-fish drama about the emotional cost of protecting the planet from its most rapacious predator: the land developer.
  14. Sansón and Me
    The film is an unusually layered look at how the combination of privation, misplaced familial loyalty and just plain rotten luck can make the immigrant experience in America a nightmare.
  15. A Little White Lie
    Hobbled by a lack of visual oomph or verbal sparkle, A Little White Lie pokes feebly at impostor syndrome and writerly insecurity.
  16. Cocaine Bear
    For an audience desperately looking for a good time, they’ll find it. More discerning fans of junk might see an opportunity missed.
  17. The First Fallen
    A gay man of a younger generation, de Oliveira mourns the vulnerability of these characters’ bodies while paying tribute to their flourishes and fears.
  18. We Have a Ghost
    The film grasps onto anything that will amuse itself for a scene.
  19. God's Time
    The three principal actors, particularly Sierra, are appealing. But the story is thin, and the jokes are more cute than funny.
  20. Dancing the Twist in Bamako
    The plot of “Dancing the Twist” is busy, the emotions big, and the screen sometimes as crowded with character and incident as a page of Dickens.
  21. Yanagawa
    It’s a quiet, elemental nourishment of the senses.
  22. Linoleum
    Just when we’re wondering where all this is going, West executes a final act as devilish as it is emotionally potent.
  23. My Happy Ending
    The labored screen adaptation shows regrettably few signs of personal fire, and many signs of a work that has been sapped of the intimacy of live theater.
  24. Bruiser
    arren uses an assured hand in treating the family melodrama with the tenderness of a tone poem. For most of the film, he avoids painting in broad strokes while ratcheting up the conflict between Porter, a tattooed veteran living on a boat, and the bespectacled, seemingly upright Malcolm.
  25. Juniper
    Predictably, their relationship softens up, but the film nevertheless maintains some of its prickly charm, in no small part because of the feisty Rampling, whose ice-queen persona here straddles bone-dry humor and withering tragedy.
  26. A House Made of Splinters
    A House Made of Splinters is made with such aching sensitivity that it’s a marvel a camera was used and not some form of mind-meld.
  27. Winnie-the-Pooh: Blood and Honey
    It’s not funny enough to have anything clever to say about its gag, and it’s not exciting enough to be a competent horror movie.
  28. Emily
    Building on a series of oppositions — nature and culture, realism and romance, duty and freedom — O’Connor brings Emily the myth to vibrant life, persuasively suggesting that this ostensibly strange and cloistered genius came into being not despite her contradictions but through them.
  29. Ant-Man and the Wasp: Quantumania
    Pfeiffer, Majors and Douglas (as Hope’s equally big-brained dad) are the truer stars of this show, and each brings something valuable to the mix.
  30. Unlocked
    In a cinematic landscape where the anxiety of surveillance has been sufficiently explored — with movies like “The Conversation,” “Enemy of the State” and “Kimi” — this simplistically dreary offering doesn’t crack a new code.
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