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. The Killer
    While the nimble Jang holds together the robust action sequences — bloody freakouts often captured in slow motion — no one else grounds any of the scenes with any emotion. Consequently, The Killer fails to land a real knockout blow.
  2. Fair Play
    While its stylings, including perky music and cutesy graphics, can sometimes verge on trite, its insights and guidance are encouraging, actionable and necessary.
  3. Dangerous Liaisons
    The director Rachel Suissa runs Laclos’s story through a heavy Instagram filter in this outlandish, flimsy adaptation.
  4. The Sea Beast
    This script’s greatest sin is its steadfast predictability.
  5. Murina
    For the most part, the director cuts loose her characters and lets them and the story’s vague ideas — about gender, sexuality, money and power — swirl and drift, leaving you to decide how and whether they all fit together, or don’t.
  6. Thor: Love and Thunder
    Waititi’s playfulness buoys Love and Thunder, but the insistence on Thor’s likability, his decency and dude-ness, has become a creative dead end. The movie has its attractions, notably Hemsworth, Thompson and Crowe, whose Zeus vamps through a sequence with a butt-naked Thor and fainting minions.
  7. Both Sides of the Blade
    How strange that a filmmaker as idiosyncratic and fearless as Denis has made such a generic, tentative film.
  8. Dreaming Walls: Inside the Chelsea Hotel
    The film avoids providing too much context, a choice that contributes to the spectral atmosphere. The directors aren’t after a news piece; they’re just listening to voices that continue to echo in the corridors.
  9. Cop Secret
    Familiarity might be the point, but a screenplay this coarse leaves the actors little wiggle room, reducing them to mouthpieces for recycled jokes.
  10. This Much I Know to Be True
    A rather fun Nick Cave movie might not have been on your 2022 bingo card, but here we are.
  11. Moon, 66 Questions
    Lentzou, with her first feature no less, gets at something much knottier about what it feels like to get older and perceive your parents as full people, in all their flaws and vulnerabilities; the pains and pleasures of adulthood, contrary to expectation, yield just as much, if not more, unpredictability than in youth.
  12. Hello, Goodbye and Everything in Between
    For those viewers aged out of the movie’s intended demographic, that quandary isn’t as compelling as the evidence of its lead actors’ talents, as well as that of the nimble actors who play their besties, Stella (Ayo Edebiri) and Scotty (Nico Hiraga).
  13. Fire of Love
    In their last years, the Kraffts spent most of their time studying the killers, hoping to discover patterns that would enable people living in the path of destruction to escape. They risked their lives to do this, and the movie argues that their sacrifice wasn’t in vain. More than that, it preserves their work and their idiosyncratic, unforgettable human presence.
  14. Fourth of July
    As a director, Louis C.K. puts several feet wrong.
  15. The Princess
    The high-aggro guitar score is a misstep, but a panting, battered King is credible and compelling as she kicks, stabs and screams for the right to choose her own destiny.
  16. Mr. Malcolm's List
    A tepid Regency-era romance.
  17. The Forgiven
    Fiennes peels David in layers, unraveling this man until you see his hollow interior.
  18. The Man from Toronto
    In The Man From Toronto, directed by Patrick Hughes, the vague sense of location is typical of a broader lack of effort. Although Hart, as the broadly comic version of the classic Hitchcockian Wrong Man, has a certain goofball charm, his frantic coward routine gets old quickly, with no appreciable change as the action-flick danger continues to escalate.
  19. Rubikon
    However thoughtful and well-intentioned, this debut feature is too airless and long-winded to excite.
  20. Beauty
    Consider Beauty an elegy with an edge, one that touches on faith and financials, love and condemnation.
  21. Clara Sola
    Araya is remarkably tender as she sinks her fingers into the earth or gingerly lifts bugs off the ground, while Sophie Winqvist Loggins’s hushed, soft-focus camerawork imbues these moments with an almost spiritual grace.
  22. Sniper. The White Raven
    Like many other movies trailing a lone gunslinger, Sniper: The White Raven builds to a tense face-off, which for our hero comes to represent a small measure of justice.
  23. Minions: The Rise of Gru
    Amiable and colorful as it is, the movie is also spectacularly inconsequential.
  24. Hallelujah: Leonard Cohen, a Journey, a Song
    The documentary’s account of the song’s fate, indebted to Alan Light’s book “The Holy or the Broken,” is a fascinating study in the mechanics and metaphysics of pop-culture memory.
  25. Accepted
    As we witness both the documentary’s subjects — and its director — navigate a shocking development in real time, a quietly probing film emerges that pierces the myth of American meritocracy.
  26. The Art of Making It
    Edwards’s generic approach — heavy on talking heads and explanatory title cards — often yields fuzzy results, with a haphazard rush of information overwhelming the rare moments the documentary settles into a more defined and compelling point of view.
  27. Down with the King
    The trait Down With the King exhibits most powerfully is patience, something in short supply in modern cinema or, for that matter, the modern world.
  28. Doula
    The running time is too long, and the finale’s screaming too prolonged; but, unlike childbirth, this good-natured movie delivers a dry, funny and utterly painless experience.
  29. Endangered
    Covered in isolation, any of these interview subjects, or any of the problems facing journalists raised — online harassment, police intimidation, hedge fund ownership of newspapers, news deserts — might have made for a more detailed and compelling film.
  30. Beba
    Beba is profound. The filmmaker delves into all of who she is, including darker or more destructive aspects of her identity, pushing viewers to see Huntt’s complexity — and perhaps their own.
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