The New York Times' Scores

Select another publication »
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
view
per page
  1. The Last Autumn
    By the time we get to the film’s closing scenes . . . this modest documentary becomes something epic — a microcosm of the eternal cycles of life.
  2. All Eyes Off Me
    Within this framework, Avishag’s wants and needs are not quite legible enough to trace a satisfying arc, but unspooling under the film’s stylish, judgment-free gaze, her interactions are alluring nonetheless.
  3. New Gods: Yang Jian
    Even for fans of this animated universe, New Gods: Yang Jian can’t turn its viewers into believers.
  4. After Love
    The film’s structure may be conventional, and yet its story is unusually rich, and uninterested in easy answers as to why people hurt the ones they love.
  5. When You Finish Saving the World
    Eisenberg has already proven himself a smart wordsmith and a knowing performer of emotional unease, but this “World” is a disappointingly shallow tale of narcissism and negligence.
  6. In from the Side
    Though Carter is competent at making the chaos of a rainy match or the ecstasy of a clandestine tryst watchable, his characters feel like sketches with barely any idiosyncrasies. What’s the point of watching the game if you don’t care about the players?
  7. Alice, Darling
    The larger problem is that there’s not enough here — in story terms or in the filmmaking — to sustain even the movie’s 90 minutes.
  8. Missing
    Missing captures the constant distractions of the modern age. Pop-up windows continually tug at June’s attention. However, the film’s more engaging moments tap into the older cyber nostalgia of text-based adventure games from the 1970s, where problems are solved by typing the right command.
  9. Back to the Wharf
    This film from Li Xiaofeng turns a crime soap opera into an allegory about the moral costs of rapacious expansion — to middling effect.
  10. Virtually Heroes
    Between its old-hat story, flagrantly distasteful humor and lousy visual effects, Virtually Heroes feels as if it’s been sitting on a shelf for a lot longer than 10 years. It probably should have remained there.
  11. House Party
    Like any rager gone south, the buzz is fun early on, until it’s suddenly too much, the house is overrun, and the room starts spinning.
  12. Dog Gone
    Even viewers with a tolerance for this kind of saccharine cinema — oversaturated green grass, slow-motion sprinting, kindly biker gangs, and a fleeting bar squabble in which the nastiest insult is “Idiot!” — will likely say their favorite part is the end credits.
  13. Saint Omer
    An intellectually charged, emotionally wrenching story about the inability of storytelling — literary, legal or cinematic — to do justice to the violence and strangeness of human experience.
  14. Skinamarink
    Ingeniously evoking a child’s response to the inexplicable, Skinamarink sways on the border between dreaming and wakefulness, a movie as difficult to penetrate as it is to forget
  15. The Offering
    A serviceable slab of possession horror.
  16. Kitchen Brigade
    Kitchen Brigade is a white-savior story par excellence, though at least it’s not difficult to swallow — the young people are lovely, and so is the food.
  17. Beautiful Beings
    It doesn’t add up to much, despite the appealing young cast and the handsome cinematography that brings texture and visual interest to every grubby corner.
  18. Plane
    Plane” sinks (or rises, depending on your perspective) to “hell yeah” ridiculousness only at the end, delivering a punchline that lands at the right time.
  19. What Remains
    Even as a Lifetime-esque soap, What Remains sputters, lacking any of the sensational twists to allow itself to sink into enjoyable pulp. The film ultimately hopes to position itself above such a story, aiming instead for a meditation on faith and forgiveness, but its writing and direction lacks the emotional substance to produce anything legitimately affecting.
  20. January 6th
    The film does not offer any particularly new insights, but witnessing the events of Jan. 6 this way — as a matter-of-fact, two-and-a-half-hour montage that seems to occur at once in slow motion and with shocking speed — creates a terror that is perhaps newly visceral and sustained.
  21. Mars One
    Dreams are incubators for dissatisfaction, Martins seems to sigh.
  22. The Old Way
    While it’s true that a certain tepid aspect is common to most B westerns, those of the ’30s and ’40s were made with a baseline competence that The Old Way is woefully lacking.
  23. Candy Land
    Written and directed by John Swab, Candy Land is standard grindhouse fare — more serious and less conceptually adventurous than its recent counterparts, Ti West’s “X” and “Pearl” — though not without its fair share of pleasurable nastiness.
  24. Alcarràs
    The film’s striking images — a girl’s made-up face, sullen amid a crowd of colorful revelers; solar panels gleaming sinisterly below a full moon — leave an indelible trail.
  25. Last Resort
    This endeavor might have tried the alternative title “Die Hard on a Budget,” except even that would have been hopelessly optimistic.
  26. M3GAN
    The director Gerard Johnstone doesn’t go for elaborate suspense sequences or truly intense scares. He wants to please, not rattle. And while there are some hints at social commentary on how modern mothers and fathers use technology to outsource parenting, this movie is smart enough to never take itself too seriously.
  27. The Subtle Art of Not Giving a F*ck
    If The Subtle Art of Not Giving a #@%! helps people, its deficiencies as a movie don’t matter much.
  28. Broadway Rising
    It can’t fail to trigger shudders of recognition as well as feelings of release, but the filmmaking lacks a certain drama.
  29. A Man Called Otto
    A Man Called Otto is not only more bloated than the Swedish film, it’s more outré, in a way that’s hard to pin down.
  30. Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb
    “Turn Every Page” is one step away from turning into a Herzogian monument to obsession or plunging into crazed psychodrama. Instead, it is merely a great profile, filled with wit, affection and detailed stories of how the books came to be.
Page:

Top Trailers

See all »
See all trailers »