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. Father of the Bride
    Father of the Bride shows the sort of rich cultural representation that can happen when people from the cultures being represented are enlisted to tell their own stories.
  2. Lightyear
    Lightyear, directed by Angus MacLane from a script by Jason Headley, aims to please by pandering, to be good-enough entertainment. As such, it succeeds in a manner more in line with second-tier Disney animation than with top-shelf Pixar.
  3. Good Luck to You, Leo Grande
    “Leo Grande” proves to be a tart and tender probe into sex and intimacy, power dynamics and human connection.
  4. Official Competition
    In the end, this is a one-joke movie — a shaggy-dog meta-narrative — but it’s not a bad joke.
  5. Halftime
    In Halftime, she is seen in top J. Lo form, an empowering Hollywood icon with an inspirational story to share. Is that reason enough to watch this scattershot portrait? It depends on if she had your love to begin with.
  6. I'm Charlie Walker
    It’s Charlie’s wife, Ann (Safiya Fredericks), who provides the movie’s voice-over. Her account has a mythmaking undercurrent but is also the film’s deft way of celebrating Black love and family.
  7. Lost Illusions
    Giannoli illuminates the dank frenzy of the 19th-century attention economy with an eye on our own post-truth era. Lost Illusions is sensational. Nobody paid me to say that. Well, actually, The New York Times did, but you should believe me anyway.
  8. The Lost Girls
    Those poor viewers willing to take on this Freudian tale and its dialogue rivaling “The Room” must brave a ludicrous slog for crumbs.
  9. Small Town Wisconsin
    Mueller’s direction is patient and sensitive, the cast is accomplished and committed, and the picture’s comedic aspects sometimes earn a chuckle. But Small Town Wisconsin is not sufficiently distinctive to rise above the standard-issue cinematic contemplation of the arguably poignant state of the white male American screw-up.
  10. Tahara
    This is a canny, compact portrait of teenage insensitivity, all the more riveting for its biting dialogue and funny performances.
  11. 1982
    Working with a shrewdly limited setting, Mouaness skillfully gives the film a near-real-time feel, conveying a sense that the war is approaching through small-scale details like radio broadcasts, Wissam’s observation that pigeons have flown unusually close to the school and the volume and frequency of aerial noise.
  12. Ninja Badass
    The result is a 103-minute vanity project I found utterly exhausting.
  13. The Janes
    Cookie-cutter though it is, The Janes does have something going for it: its interview subjects, the former Janes, who all speak about their beliefs and shared past with striking clarity.
  14. The Walk
    The topic is, of course, timely. (When is racism not?) Yet The Walk feels dated.
  15. Jurassic World Dominion
    This is a very crowded movie — so many species of dinosaur, and I’m so bad at keeping track of them that my 8-year-old-self is no longer speaking to me. They are variously menacing, ravenous, bizarre and kind of cute, but the frenzied live-action and digital special effects rarely produce moments of Spielbergian awe.
  16. The Policeman's Lineage
    The director, Lee Kyu-man, makes the camera hover tensely over scenes, but only a couple of action sequences pack much oomph. There’s more sinister tension in brief scenes with elder statesmen of the criminal world, who are chillingly self-assured.
  17. Being BeBe
    With her feature debut, Branham exposes her hand as filmmaker, and reminds us that Being BeBe is only a snapshot of Ngwa’s persona; the real thing is so much richer.
  18. A Sexplanation
    Liu lends a frankness and sensitivity to the topic that would make A Sexplanation suitable to be shown in a classroom, which was perhaps his intention all along.
  19. Funny Face
    Roger Edens, the talented producer, and Stanley Donen, the director, have turned the whole thing into a lovely phantasm made up of romance, tourism and chic.
  20. My Dead Dad
    The gear-grinding tedium of the movie’s taking-responsibility scenario is occasionally broken up by not-quite-lyrical sequences of Los Angeles sunsets seen from car windows.
  21. Freakscene: The Story of Dinosaur Jr.
    The movie is nothing if not relentlessly focused on Dinosaur Jr. itself. The band is a noteworthy one. But this treatment feels skimpy.
  22. Miracle
    Framed by scenes of weeping, the narrative does not entirely pull itself into a satisfying arc, but the film nevertheless unfolds with dexterity and suspense.
  23. The Phantom of the Open
    A different actor than Rylance might have revealed the slight darker, impostor wrinkles of the tale. Instead, his character, an unflummoxed optimist, shares some of the same cheery qualities as Ted Lasso.
  24. Neptune Frost
    This isn’t a tight, tidy allegory of capitalism and colonialism so much as a collage of vivid images, sounds and words that punch the movie’s themes like hashtags. Williams and Uzeyman marry anarchist politics with anarchist aesthetics, making something that feels both handmade and high-tech, digital and analog, poetic and punk rock.
  25. Crimes of the Future
    Despite the morbid laughs and the beatific smile that can light up Saul’s face like that of St. Teresa of Ávila, Crimes of the Future feels like a requiem. Cronenberg has always been a diagnostician of the human condition; here, he also feels a lot like a mortician.
  26. 18½
    The film’s referential pleasures feel insubstantial, diminished by the direct comparison to more meaningful works of the period.
  27. Fortune Favors Lady Nikuko
    Although she is buoyant and cheerful, Nikuko is cast as oafish and uncouth, and she is always ultimately the butt of the joke. It’s a puerile, mean-spirited tendency that altogether spoils the otherwise exquisite imagery.
  28. Maika: The Girl from Another Galaxy
    "Maika” stands out for its moments of weird eccentricity. Bad guys get slapped by gobs of kimchi and Hung and Maika float around in a bubble, zooming past airplanes. Sure, it’s all very loud and cartoonish, but at least we’re not stuck in the suburbs.
  29. Hollywood Stargirl
    Hollywood Stargirl could be seen as a filmmaking exercise. How do you build a story around a character who was auxiliary by design? Hart’s solutions are manifold, but her most effective one is to quash the grating altruism that drove Stargirl in the first movie.
  30. Eiffel
    One can’t help but wonder if Eiffel is merely a lame fantasy or a particularly spineless form of mythmaking, whittling down as it does one nation’s politically loaded event to the equivalent of an Eiffel Tower key chain with an inscription reading “city of love.”
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