The New York Times' Scores

Select another publication »
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
view
per page
  1. Strange World
    The takeaway is the difficulty of collaboration in the face of entrenched beliefs and ways of navigating the world that, ultimately, must be questioned — if not entirely dismantled — if any one of us expects to stick around.
  2. Glass Onion: A Knives Out Mystery
    “Glass Onion” is completely silly, but it’s not only silly. Explicitly set during the worst months of the Covid pandemic — the spring of 2020 — “Glass Onion” leans into recent history without succumbing to gloom, bitterness or howling rage, which is no small accomplishment. One way to interpret the title is that a glass onion may be sharp, and may have a lot of layers, but it won’t make you cry.
  3. Disenchanted
    Adams doesn’t gain much by returning for Disenchanted, a cluttered and noisy sequel directed by Adam Shankman from a screenplay by Brigitte Hales. Neither does the original film’s fan base.
  4. Actual People
    The low-budget nature tends to expose the film’s amateurish qualities — the attempt at a vérité feel can fall flat, particularly through the acting.
  5. The People We Hate at the Wedding
    Underneath the plentiful high jinks in its physical-comedy-heavy scenes, The People We Hate at the Wedding ends up being a poignant enough good time that celebrates imperfect yet endearing familial love.
  6. Slumberland
    Overall this remarkably glum, logy, convoluted and unengaging movie has only a vestigial relation to McCay’s work. McCay fans should beware. So should everyone else.
  7. The Wonder
    Anchored by Lelio’s intelligent filmmaking — and by Pugh’s beautifully calibrated mix of physical vigor and temperamental astringency — Lib embodies the story’s arguments, themes and power with vivid clarity. There’s no denying her or her ravenous hunger for life.
  8. EO
    No movie that I’ve seen this year has moved me as deeply, made me feel as optimistic about cinema or engaged me with such intellectual vigor as “EO,” whose octogenarian genius auteur and all the donkeys who play EO — Hola, Tako, Marietta, Ettore, Rocco and Mela — deserve all the love and the carrots, too.
  9. Master of Light
    The thesis of the movie — that art can be restorative and help overcome cyclical, systemic failures — might seem trite. But Morton’s devotion to his painting and his loved ones makes it difficult not to be moved.
  10. Bantú Mama
    It’s a quiet film that stays close to the central characters, but it could have benefited from broadening its view, giving context to some of the issues presented in the film — in particular how Blackness is perceived and experienced on the island.
  11. Mickey: The Story of a Mouse
    It’s boosterish and jam-packed, like many pop-culture documentaries (not just ones produced by Disney about Disney).
  12. Blue's Big City Adventure
    That winsome charm and gusto is infectious, as in a Central Park-set dance number with some of the Technicolor verve of an old Hollywood musical, and it manages to sustain this unflagging exuberance across its fleet 72-minute running time.
  13. Bad Axe
    This is a hermetic story, but one wishes that Siev had balanced its coziness with acuity.
  14. There There
    The writer-director, Andrew Bujalski, zeros in on the delicate dances and negotiations between the people in these two-handers, which percolate with sly humor, decency, curiosity and sheer nerve.
  15. Christmas with You
    Weather seems to exert an only intermittent influence in this insipid holiday love story, directed by Gabriela Tagliavini and set in the run-up to Christmas — at least in theory.
  16. The Inspection
    The metamorphosis that Bratton explores, and that Pope embodies — the way Ellis both changes and remains ever faithful to himself — is subtle, bittersweet and beautiful.
  17. A Christmas Story Christmas
    Mostly it made me want to watch the original, which, as always, remains well worth revisiting.
  18. The Menu
    In service to a gleefully malicious tone, Mark Mylod’s direction is cool, tight and clipped, the actors slotting neatly into characters so unsympathetic we become willing accessories to their suffering.
  19. Bones and All
    Bones and All is a ragged hybrid of genres and styles, an elevated exploitation movie, a succession of moods — anxious, horny, dreamy, sad — in search of a metaphor. Or maybe the metaphor is obvious.
  20. In Her Hands
    The film is so enamored with Ghafari’s status as an exceptional symbol — a powerful woman in a man’s world — that her actual work as a politician gets short shrift.
  21. Memories of My Father
    Perhaps Colombian audiences don’t need the history lesson, but skimping on the context in this case also makes the film’s mawkish impulses more glaring and grating, especially as Trueba shifts his observant domestic drama into something of a political rallying cry — a tepid one, at that.
  22. Stutz
    A film that skillfully navigates vulnerability, brainy insights and artistry.
  23. Is That Black Enough for You?!?
    An occasionally static work if also an unequivocally important and gloriously comprehensive one.
  24. Being Thunder
    The film ‌is‌ gentle ‌yet indistinct, l‌‌eaving us to discern figures through a fog.
  25. The Box
    The Venezuelan director Lorenzo Vigas’s The Box weaves some of the greatest horrors of modern Mexican life into an unsettlingly cryptic thriller.
  26. Nothing Lasts Forever
    That marketing campaigns are built on fallacies isn’t exactly revelatory, but in pairing his excavation of the diamond myth with new inquiries into how the industry is evolving (and how it’s stagnating), Kohn strikes on something valuable.
  27. The First Noelle
    It’s hard to become immersed in this aspirational alternate reality because of the movie’s pun-filled and often unbelievable dialogue, as well as lackluster performances delivered by the lead actors.
  28. Sam & Kate
    Twists of fate lose their magic when they’re obvious as clumsy script contrivances.
  29. Paradise City
    The movie’s generic quality is spruced up by eccentric plots points (go-go dancers who also serve as undercover eco-activists, a nice Andy Sidaris-like touch) and kooky dialogue.
  30. Retrograde
    The shrewdly observant film sticks with one Afghan general, Sami Sadat, to tell an emotional story that feels as significant as any analysis of troop numbers.
Page:

Top Trailers

See all »
See all trailers »