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. My Father's Dragon
    It’s one part doom cloud, one part squirting prank flower — an uneasy balance that’s united only by stunning visuals which sweep the audience along even when the gags stumble.
  2. A Couple
    Even at 63 minutes, A Couple is not an easy sit. It took me three viewings before I was able to become absorbed in it — to settle into the rhythms of Boutefeu’s performance, to find the monologues less monotonous, to admire the beauty of the garden that Wiseman uses so calmingly to counterpoint the anger of Sophia’s words.
  3. The Fabelmans
    The Fabelmans is, as the title says, somewhat of a fable and wonderful in both large and small ways, even if Spielberg can’t help but soften the rougher, potentially lacerating edges. It’s what he does; it’s also what the audience expects of him, and he’s nothing if not obliging.
  4. Spirited
    The combination of this fine-tuned spectacle with the ineffectual vocals of the main duo — and distractingly uncanny visuals and special effects — transforms Spirited into a disjointed movie musical with all the superficial trappings of a Broadway flop.
  5. Black Panther: Wakanda Forever
    A Marvel movie, for sure. But a pretty interesting one, partly because it’s also a Ryan Coogler film, with the director’s signature interplay of genre touchstones, vivid emotions (emphasized by Ludwig Goransson’s occasionally tooth-rattling score) and allegorical implications.
  6. Falling for Christmas
    If this is the standard we’re dealing with, I’d rather have amnesia.
  7. Incredible But True
    Coming in at a tight and talky 74 minutes, Incredible but True is a sweetly absurd time-travel comedy that coats its lunacy in a touching poignancy.
  8. The Estate
    This is a comedy that takes a vicious, over-the-top look at family greed, and fortunately, the cast members are game to play their characters’ attempts at flattery in the most unflattering manner possible.
  9. Nocebo
    This movie has plenty going for it: excellent actors (Fonacier has a knack for coiled tension), stylish camerawork by the director Lorcan Finnegan and a point to make about economic exploitation. What’s missing is any sense of surprise.
  10. Next Exit
    The actors’ chemistry feels brittle, and like many road movies it has trouble mining drama out of disparate episodes.
  11. Good Night Oppy
    By the end of Good Night Oppy, Opportunity and Spirit have become no less lovable as characters than R2-D2 or Wall-E. It’s tough not to feel for their loss.
  12. Meet Me in the Bathroom
    There are revealing glimpses into the early work of artists who would morph into entities that were slicker and ostensibly cooler.
  13. You Resemble Me
    The film needs more facts and fewer flourishes, but its closing turn to documentary footage, comprising brief snippets of interviews with Hasna’s family, is too little, too late.
  14. Soft & Quiet
    The brutal possibilities of the white supremacist mind-set are nothing to shy away from. Still, the film’s admittedly jarring cruelty does little beyond press down on old bruises, turning the realities of racialized violence into an immersive spectacle with the kind of real-world sadistic allure one might find in a serial-killer movie.
  15. Salvatore: Shoemaker of Dreams
    If Guadagnino sought to reflect the romance of Ferragamo’s red carpet creations, his storytelling is at once more conventional and more awkward in construction. Forget feet; defter hands might have helped.
  16. Causeway
    Causeway is both thin and heavy-handed, its plot overly diagramed and its characters inadequately fleshed out. The burden of making it credible falls disproportionately on Henry and Lawrence, superb actors who do what they can to bring the script’s static and fuzzy ideas about pain, alienation and the need for connection to something that almost resembles life.
  17. Utama
    While climate change shadows every anxious discussion here, it also remains at a safe remove, a vague threat embedded in an aesthetically soothing package and gently salted with tears.
  18. Weird: The Al Yankovic Story
    Radcliffe is winningly guileless in his performance, twitching his costume-y eyebrows and mustache like gentle bunny ears even as he lip-syncs “Another One Rides the Bus” with such commitment that his neck veins nearly pop.
  19. Something in the Dirt
    Overlong and overwritten, “Dirt” nevertheless unfolds with an enjoyably comic quirkiness, a tale of two doofuses who sought meaning in symbols and found comfort in friendship.
  20. God Forbid: The Sex Scandal That Brought Down a Dynasty
    While Falwell Jr. may indeed be a charlatan, ridiculing his sexual predilections seems like a pretty dubious way to prove it.
  21. Selena Gomez: My Mind & Me
    An honest portrait study of stardom and mental illness, the film offers a hopeful catharsis: How, when we reveal our hardest truths, we can heal together.
  22. Enola Holmes 2
    This time around, the director Harry Bradbeer and the screenwriter Jack Thorne forgo prolonged dialogue when Enola breaks the fourth wall, making more room for Brown’s intense looks and physical gestures to resonate.
  23. The Lair
    Lively, noisy, dark and daft, this gloopy creature feature from the British director Neil Marshall plays like a loose, if vastly inferior callback to his two best films, “Dog Soldiers” (2002) and “The Descent” (2006).
  24. Peaceful
    The film frequently dips into unintentional absurdity, yes, but it also captivates, thanks to the powers of the Gallic film-world heavyweights Benoît Magimel (playing Benjamin) and Catherine Deneuve.
  25. A Chance Encounter
    After Hal and Josie’s meet-cute, they see sights blandly, philosophize blandly, blandly tiptoe around the notion of romance, and criticize each other — yes, blandly, but with an occasional touch of “salty” language.
  26. Wendell & Wild
    The story lines feel far-flung and disconnected, and the limits and rules of this world’s magical logic are at turns underdeveloped and inconsistent. Though the movie has a delightfully raucous rock ’n’ roll sensibility, the dialogue lacks the wit and punch to match.
  27. Holy Spider
    Abbasi seems enamored by the contradictions of Hanaei, who was at once an upstanding Muslim, a family man, a pervert and a ruthless killer. But anyone who reads the news, anywhere in the world, will respond to these rote hypocrisies of misogyny with little other than jadedness.
  28. Please Baby Please
    The film’s ironic tone largely defangs the transgressive films it parodies, but Kramer does broaden the scope of the queer leather canon.
  29. Louis Armstrong's Black & Blues
    The film is a trove of Armstrong’s love of music and his labor. And because so many of those who lend their insights are now departed, it has the feel of a mausoleum worthy of a humble yet celebratory “Saints Go Marching In” second line.
  30. Call Jane
    Nagy tries to push the story beyond its cautious framing, but it’s tough going.
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