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. Clerks III
    Three words characterize the first third or so of the picture: not funny enough.
  2. Pinocchio
    Boy oh real boy, is the script by Zemeckis and Chris Weitz a lifeless chunk of wood.
  3. This Land
    The narratives in This Land are compelling, even if each of them would benefit from more screen time. (The Covid-19 pandemic affected the shooting schedule, and it shows.) On the whole, the film is best seen as a collage, rather than a definitive report, of the array of opinions brought on by the Trump-Biden race.
  4. We Are As Gods
    We Are as Gods is a mildly interesting documentary about a very interesting man.
  5. The Book of Delights
    If this erotic drama doesn’t break new cinematic ground, it also doesn’t cede its conviction in portraying relationships as a matter of serious consideration.
  6. Our American Family
    Addiction is a complex, challenging topic, and Our American Family, in its sharp specificity, handles it with grace.
  7. The Cathedral
    What distinguishes Jesse’s story is the striking way that the writer-director Ricky D’Ambrose tells it — its ellipses, voice-over, visual precision and an emotional reserve that can feel like clinical detachment but is more rightly described as an aesthetic.
  8. Loving Highsmith
    Most of her exes’ memories stop short of being psychologically insightful. Strung together, however, these tender confidences shape an outline of a woman who never trusted anyone with her heart.
  9. Honk for Jesus. Save Your Soul.
    Regina Hall is a wonder as the woman who stands by her man for a mash-up of reasons, not least being the elevated position the title first lady confers.
  10. Saloum
    Punctuated by Gregory Corandi’s gliding, God’s-eye shots of meringue-colored desert and placid shoreline, Saloum has the extravagance of fable and folklore. The plot is ludicrously jam-packed, but the pace is fleet and the dialogue has wit and a carefree bounce.
  11. Burial
    The story is invented, and not particularly exciting as such.
  12. McEnroe
    There’s a lot more here for tennis fans than you get in average sports documentaries.
  13. Kaepernick & America
    The verbal analysis here isn’t always profound — one interviewee trots out the banal phrase “the conversation we should be having” — but the narrative as presented in archival footage (Kaepernick did not sit for an interview for this film) is exemplary.
  14. Peter von Kant
    Fassbinder’s work finds a kind of truth in the artifice of emotionally plumped-up dramas, but Ozon’s often tedious tragicomedy never hits such a stride, trusting that the material will automatically confer greatness; instead, “Peter” comes off like top-shelf fan-fiction.
  15. Gigi & Nate
    Rather than offer insight into the difficult choices facing disabled people, Gigi & Nate opts for mawkish wish fulfillment, undercutting the film’s powerful emotional core.
  16. Waiting for Bojangles
    The infectious brio at the heart of “Bojangles” is a testament to the performances of the ensemble cast, but especially Duris and Efira, whose chemistry is magnetic.
  17. The Invitation
    Had the movie emerged as a friskier game of eat the rich, it might have had a fighting chance of survival. Instead, it’s middling, morbid pap.
  18. Me Time
    There is a flatness that feels apparent in every shot — and not just because the movie is filmed in bright, low contrast lighting. The film’s experienced cast punches their lines in search of jokes that never materialize, leaving the comedy to nosedive.
  19. Seoul Vibe
    The caper, directed by Moon Hyun-sung, isn’t as fun as it insists it is, playing up the crew and its exploits à la “The Fast and the Furious” and “Baby Driver” but never hitting its stride.
  20. Three Thousand Years of Longing
    Despite Miller’s talent and feverish enthusiasm, and the gravitational pull of his stars, the movie’s colorful parts just whir and stop, a pinwheel in unsteady wind.
  21. Funny Pages
    There’s nothing remotely cool about Robert or, really, Funny Pages. That’s because cool is entirely beside the point. What matters is a sensibility, a worldview — what matters is art.
  22. Samaritan
    Bragi F. Schut’s script mumbles its potentially intriguing themes.
  23. Adieu Godard
    It’s a film-school pastiche of the French director’s style, with none of the forward-thinking intellectual curiosity of his movies.
  24. Private Desert
    Muritiba understands that any portrait of masculinity that fixates too intensely on the cruelties and self-denials of machista culture are futile. Instead, he finds grace in stolen moments of tenderness.
  25. Adopting Audrey
    The one bright spot of Adopting Audrey is the acting from Malone and Hunger-Bühler, who imbue their characters with more pathos than they probably deserve.
  26. Alienoid
    The movie is bursting at the seams, as if Choi, in his first outing since the 2015 historical action drama “Assassination,” was drunk on pure filmmaking pleasure and threw every cinematic genre into a gigantic blender.
  27. Breaking
    It depicts in stomach-churning detail how the contemporary militarization of law enforcement creates an atmosphere in which violence is near inevitable. This conscientious attention balances out the movie’s occasional lapses into sentimentality.
  28. The Good Boss
    The Good Boss provides prime material for Bardem, who has to maintain a polished veneer even as his character’s mendacity and troubles mount. As satire, though, the movie is facile.
  29. Out of the Blue
    Like most of LaBute’s work, Out of the Blue is talky, sparsely staged and presented with his signature detachment. The two leads are fine.
  30. Katrina Babies
    Katrina Babies is deeply personal and thoughtfully political.
Page:

Top Trailers

See all »
See all trailers »