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. Knock at the Cabin
    For all its skill and cunning, Knock at the Cabin is an overwrought quasi-theological melodrama that also manages to be a half-baked thought experiment. It’s a thrill ride in a toy trolley.
  2. Godland
    Godland gestures at several intersecting themes — belief, the struggle to hold onto faith, the impermanence of being — with greater suggestiveness than depth. It’s a sharp, dryly funny, at times cruel exploration of human arrogance and frailty.
  3. A Lot of Nothing
    In his feature debut, the director Mo McRae displays a nice way with actors and a gift for visual tension, but in aiming for absurdist humor, he lands on something more vexing. It’s the script — by McRae and Sarah Kelly Kaplan — that’s the problem.
  4. The Blind Man Who Did Not Want to See Titanic
    The camera stays close to Jaakko, always at his eye level, blurring everything around him. But the script struggles to channel the character’s wonderfully playful, acerbic spirit.
  5. Baby Ruby
    As moody and messy as its eponym, Baby Ruby aspires to demonstrate how postpartum psychosis can feel like a horror movie. It just fails to make the condition feel like a particularly convincing or cohesive horror movie.
  6. Let It Be Morning
    Despite flashes of droll humor, the film builds up an undercurrent of suspense, with the prospect of violence always near. Kolirin (the movie version of “The Band’s Visit”) orchestrates the proceedings with confidence and significant subtlety, never letting political diagnoses overwhelm character.
  7. Body Parts
    Ironically, the film mirrors the callow cinematic dynamics it critiques: It titillates, even as it scolds.
  8. The Locksmith
    Most of the movie is told with big, rudimentary handwriting and slathered in clichés.
  9. Dionne Warwick: Don't Make Me Over
    Overall, “Don’t Make Me Over” gets the job done, albeit in a formulaic, straightforward fashion. But there’s pure joy in just seeing Warwick radiate the kind of charisma and grit you’d hope for from a living legend who has always stayed true to herself.
  10. Pathaan
    Pathaan is in some ways a save-the-world superhero movie without suits, and while less self-serious, the hefty length can lag. More is not always better — though the gusto of Padukone speedskating to the rescue at one point goes a long way.
  11. The Amazing Maurice
    What should be a cute story about a mischievous orange tabby cat instead becomes an ironic, even vaguely smug movie in the vein of something like “Deadpool.”
  12. Full Time
    The film is a portrait of modern labor that moves with the breathless tension of a Safdie brothers’ joint. But instead of gangsters and cocaine, it finds a flurried momentum in one ordinary woman’s everyday obligations.
  13. 80 for Brady
    We’re so pleasantly pummeled by silliness that the film comes to feel like a massage.
  14. Pamela, a love story
    The collision of her good-faith lack of inhibition with institutionalized misogyny makes this Canadian’s biography a very disquieting American story.
  15. Filmmakers for the Prosecution
    It’s all a reminder of the labor and risks that go into creating and preserving essential imagery of the past, even for the most notorious events in history.
  16. Remember This
    Remember This is, quite literally, a filmed play, and Goldman and Hutchens don’t make any attempts to define or elevate itself outside the confines of the stage.
  17. The Mission
    One hopes that such access would yield new insights into the church. But as the events unspool, the film struggles to crystallize more than a handful of compelling points.
  18. Cairo Conspiracy
    Cairo Conspiracy is a measured but unsparing portrait of corruption perpetrated by people who, across the board, are utterly confident of their own rectitude. Its denouement offers some mercy, but zero hope that the rot depicted can be corrected.
  19. The Man in the Basement
    Somewhere in “The Man in the Basement” there is a smart psychodrama sharpened by political urgency, but what we get is a middling think piece that too quickly loses momentum — and peters out by the end.
  20. Kompromat
    Salle’s approach leaves the physical details of Mathieu’s escape foggy. It’s not always clear how long Mathieu spends in hiding, or how he acquires the tools needed to sustain his flight.
  21. Infinity Pool
    Surreal, sophisticated and sometimes sickening, Infinity Pool suggests that while the elder Cronenberg might be fixated on the disintegration of our bodies, his son is more concerned with the destruction of our souls.
  22. Life Upside Down
    It’s a shallow look at shallow people.
  23. Shotgun Wedding
    Much of the dialogue feels canned and phony in the style of a badly written sitcom. But coming out of J. Lo’s mouth, I believed it.
  24. Maybe I Do
    A romantic comedy starring Diane Keaton, Richard Gere, Susan Sarandon and William H. Macy would kill as a Nancy Meyers movie. Unfortunately, the rom-com Maybe I Do was written and directed by the television veteran Michael Jacobs.
  25. Nostalgia
    Martone’s depiction of crime is at once expressive and economic, a world of danger boiled down to pregnant pauses and minute gestures.
  26. You People
    Hill and London build on a nice vibe. Their characters are playful and frisky, in sync with their eye rolling and mouthing of apologies from across a room.
  27. Close
    The roteness of the film’s second half — reinforced by Valentin Hadjadj’s over-insistent score — can’t dispel the exquisite insight of its earlier scenes or the heart-rending precision of the performances.
  28. The Wandering Earth II
    Losing all of the glee of its predecessor, the movie instead offers nearly three hours of convoluted story lines, undercooked themes and a tangle of confused, glaringly state-approved political subtext.
  29. The Seven Faces of Jane
    The consistency limits the ability of the directors to lean into their own style, leading to a movie that feels narratively scattered and stylistically inhibited.
  30. Only in Theaters
    Ultimately the movie is as scattershot as it is enthusiastic. . . . But the narrative about the theaters’ present-day fight for survival is undeniably compelling.
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