The New York Times' Scores

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For 20,269 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 4.2 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 20269
  2. Mixed: 8,428 out of 20269
  3. Negative: 2,464 out of 20269
20269 movie reviews
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  1. Nr. 10
    What the film ultimately becomes — a sci-fi mystery, a smirking satire of religion — doesn’t possess enough actual narrative meat, formal style, or wit to justify its structural gambit.
  2. Empire of Light
    A film that had seemed interested in the lives and feelings of its characters, and in an unlikely but touching relationship between two people at odds with the world around them, turns into a movie with Something to Say.
  3. One Fine Morning
    The story’s ellipses and graceful structure are certainly admirable, but what elevates One Fine Morning is the texture of Sandra’s emotions, the revelation of her character, the hunger of her embrace, the wildness of her mouth, the stillness of her sated body, and the love that she gives and will movingly embrace once more.
  4. Loudmouth
    As straightforward as it appears, Loudmouth also invites an engaged but necessarily judicious scrutiny.
  5. Something from Tiffany's
    It’s a winning setup, and the director, Daryl Wein, escalates the action shrewdly, with clever rom-com engineering.
  6. Framing Agnes
    The documentary reminds its audience that it’s impossible to truly know people based on their responses to medical interviews. But this approach unfortunately prevents the film from achieving either catharsis or understanding.
  7. Emancipation
    Part of this movie’s power comes from its insistence that you look at the near-unbearable, that you confront slavery as a crime against humanity rather than the perverse myth of the so-called Lost Cause enshrined in countless paintings, books, films and statues.
  8. Diary of a Wimpy Kid: Rodrick Rules
    It’s the sort of bland, innocuous trifle that will swiftly recede into the oblivion of a streaming service menu — a comedy without laughs and a family movie without heart, lacking any of the wit or charm of Kinney’s original stories.
  9. Devotion
    As an intellectual dismantling of white savior narratives, Devotion is smartly done; as an enjoyable heartwarmer to watch with your uncle, it’s stiff when it should soar.
  10. Hunt
    A convoluted conclusion, begot by an unconvincing change of heart, obliterates any chance of “Hunt” offering the clarity it needs to be entertaining. Instead, Lee’s directorial effort wanders toward something unmemorable.
  11. Sr.
    The details of how the father cleaned up, became a caregiver to his terminally ill second wife and tried to help his son are terribly moving.
  12. Tantura
    The emerging film is not simply a persuasive augmentation of Katz’s argument, but also a disturbing portrait of how very human impulses — passivity, rationalization, social pressures — can shape the writing of history.
  13. Spoiler Alert
    The film is strongest when it falls silent, allowing the actors to communicate their thoughts with a look.
  14. 2nd Chance
    Bahrani’s film (which he narrates) beetles along without fully exploiting Davis’s ample entertainment value, which is counterbalanced by accounts of his dubious actions and sometimes unseemly opinions.
  15. Scrooge: A Christmas Carol
    This update has its moments of aplomb, but too many of Dickens’s most incisive lines are no more, which invites the not entirely charitable, two-word retort Scrooge made famous.
  16. Lady Chatterley's Lover
    Magee and Clermont-Tonnerre’s adaptation emphasizes the romance of Lawrence’s book over the radicalism of his vision. This Lady Chatterley’s Lover is faithful to the novel, while also revealing how safe, how domesticated, it has become.
  17. Darby and the Dead
    As familiar as this tale of female transformation feels, there is an authentic sweetness to Darby and Capri’s fledgling friendship. Their bond resuscitates a movie that might otherwise have been dead on arrival.
  18. Four Samosas
    Unlike so many new movies that seem to be algorithmically manufactured to appeal to diverse audiences and tick the boxes of representation, Four Samosas feels organic and true as a slice of Indian American life — even if it’s all fun and games and movie magic.
  19. Return to Seoul
    Return to Seoul is a startling and uneasy wonder, a film that feels like a beautiful sketch of a tornado headed directly toward your house.
  20. Violent Night
    Adding insult to bodily injury, the director, Tommy Wirkola (“The Trip,” “Dead Snow”), and the screenwriters, Pat Casey and Josh Miller, can’t even muster any decent set pieces. Instead, the movie unfurls as a tedious series of bloody deaths and witless dialogue.
  21. The Noel Diary
    The director Charles Shyer brings a journeyman’s ease to the screenplay (based on Richard Paul Evans’s novel by the same name): embracing holiday movie expectations here, gently deflecting them there.
  22. The Corridors of Power
    As edited, Moreh’s interviews prize policy analysis and haunting candor over gotcha moments or grandstanding.
  23. The Son
    Despite its contemporary New York City setting, The Son seems to have appropriated a midcentury understanding of mental illness, and the emotion on display feels even more artificial than the rooftop vista erected outside the windows of Peter’s industrial-chic Manhattan loft.
  24. White Noise
    There is something detached about the film, a succession of moods and notions that are often quite interesting but that never entirely cohere. White Noise is an expression of sincere and admirable faith. I just wish I could believe in it.
  25. The Sound of Christmas
    The relationship between Montana and the kids is a highlight, as are some of the other secondary relationships. And though the film is as predictable and saccharine as one might expect of holiday fare, viewers who grew up in the Black church may enjoy seeing a relatable and chaste romantic story on-screen.
  26. Fantasy Football
    Hardwick and Martin have decent chemistry, but the film lacks a true charisma that would make it a children’s classic worth revisiting.
  27. All the Beauty and the Bloodshed
    The movie’s bifurcated shape isn’t novel, but Poitras’s marshaling of all this information is exceptionally graceful. She has an abundance of fantastic material at her disposal — including a generous selection of Goldin’s artwork — but what makes the movie work so well is how Poitras seamlessly uses the different sections of Goldin’s life to weave a coherent portrait of the artist.
  28. Nanny
    Jusu draws fluidly from different genres and modes in “Nanny” — from scene to scene, the movie plays like an immigration drama, a lonely woman melodrama and a cruel labor farce — but at one point you realize that what you are watching looks, sounds and feels like a horror movie.
  29. The Swimmers
    The Swimmers tells this story as an inspirational (but rarely sugarcoated) crowd-pleaser. Within those terms, it hits its marks.
  30. Leonor Will Never Die
    The effect is by turns comical, maddening and endearing as Escobar reaches for more ambitious ideas about the political appeal of the authoritarian hero; but “Leonor” is finally too mired in its film-within-the-film frolics for more serious themes to gain traction.
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