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. Faith
    Pedicini structures the movie as an oblique narrative rather than an exposé. And Faith is all the more disturbing for that. Clearly this distinctive filmmaker was just getting started.
  2. Claydream
    Evans has made a lively and illuminating tribute, and not always an unduly flattering one.
  3. Mija
    An immersive, deeply empathetic look at what it means for first-generation Americans like Doris and Jacks to reclaim the right to pursue unpredictable dreams.
  4. They/Them
    Logan, who also wrote the screenplay, feels so averse to engaging with the thorny political implications inherent in this material — of having to negotiate a cast of gay, transgender and nonbinary characters in a horror context — that the whole thing winds up seeming rather tame.
  5. Wedding Season
    Wedding Season is mostly flavorless, but its interest in capitalistic success inspires a pucker of bad taste.
  6. Luck
    Luck offers fresh ideas; its only misfortune is to present its gifts in recycled wrapping.
  7. Bullet Train
    It’s watchable — it stars Brad Pitt — jokey, sometimes funny and predictably stupid.
  8. Bodies Bodies Bodies
    It’s not that “Bodies Bodies Bodies” is bad. It’s visually appealing and nicely acted. But this film is not special, and like its shallow characters, it is persistently unaware of its own inanity.
  9. Prey
    Despite a female-empowerment theme and an adversary fairly bristling with fancy weaponry, Prey never builds a head of steam.
  10. Gone in the Night
    Twists galore follow, the torque of which surprises again and again.
  11. Thirteen Lives
    This is a pragmatic recounting of a nigh-impossible mission: first, to find the trapped boys, and harder still, to swim them out.
  12. Memory Box
    The relationship between mother and daughter is rather thinly etched — there’s a little too much going on in this ambitious, intergenerational film — but Hadjithomas and Joreige deftly use Maia’s archive to weave together past and present.
  13. I Love My Dad
    Since the audience is in on the scheme from the start, what we get is excruciating, uncut. But not too excruciating, because Franklin is such a drab cipher it’s hard to work up much empathy for him.
  14. Shalom Taiwan
    It’s hard to argue with that message, but one doesn’t have to accept the ho-hum experience of watching this movie.
  15. Exposing Muybridge
    While starchy in presentation, Exposing Muybridge makes clear that its subject’s images still have a lot to show us.
  16. Purple Hearts
    The film wallows in contrived plots and subplots, made worse by the dearth of chemistry between the two leads.
  17. Blue Island
    The past-present parallelism is provocative, but it also seems faintly superficial — a way of eliding distinctions and streamlining history.
  18. Medusa
    Though dressed in shock-value clothing, Medusa is also a straightforward character study, tackling issues like the scourge of Western beauty standards and the difficulties of leaving an abusive relationship along the way
  19. Honor Society
    A twist whipsaws the movie into a darker place, one in the vicinity of Patricia Highsmith. But no murder takes place, and the movie’s resolution confirms what one may have suspected all along: Its dominant room tone is kinda-sorta that of “To All the Boys I’ve Loved Before.”
  20. Not Okay
    As satires go, this one by the writer and director Quinn Shephard is hardly subtle — but though it lacks narrative finesse, Not Okay is brimming with provocative in-jokes for the extremely online.
  21. A Balance
    Takiuchi’s Yuko, in turns motherly and mercenary, is bewitchingly enigmatic: What drives her? Why does she still live with her father? Mercifully, we receive little back story; it’s enough that she is an ambitious woman, choked by ruthless double standards surrounding sex and autonomy.
  22. Hansan: Rising Dragon
    The film’s dramas are ornately costumed but often stilted and lacking the verve of the battle staging. Even the glories of war can turn stultifying when you’re shown one too many thousand-yard-stare reaction shots by military leaders.
  23. Ali & Ava
    The onscreen chemistry between them feels forced and flat, and the decidedly tame portrayals of physical intimacy only accentuate this absence.
  24. Paradise Highway
    If only the film had taken a broader view, filling in more details about the lives and motivations of the truck drivers as well as the sex traffickers.
  25. Resurrection
    While Resurrection harbors more than one theme — empty-nest anxieties, toxic men and the long tail of their manipulations — the movie feels more like an unhinged test of how far into the loonyverse the audience can be persuaded to venture.
  26. How to Please a Woman
    This hook piques curiosity — at least enough for a coy eyebrow raise. Light intrigue is often not enough, though, and in this case, the movie strains to sustain charm.
  27. Hypochondriac
    Its armchair psychology makes for queasy viewing, a conflation of diagnosis and damnation.
  28. A Love Song
    Slow, sweet and subdued, A Love Song, Max Walker-Silverman’s lovely first feature, is about late-life longing and needs that never completely go away.
  29. Sharp Stick
    An uneven, uneasy fable of desire.
  30. Vengeance
    Vengeance, while earnest, thoughtful and quite funny in spots, demonstrates just how difficult it can be to turn political polarization and culture-war hostility into a credible narrative. Its efforts shouldn’t be dismissed, even though it’s ultimately too clever for its own good, and maybe not quite as smart as it thinks it is.
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