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. In Front of Your Face
    The secret is poised somewhere between triteness and disarming simplicity.
  2. Doctor Strange in the Multiverse of Madness
    There isn’t much of a love story here. There isn’t much of anything, even as there’s too much of everything.
  3. In a New York Minute
    The promising first-time feature filmmaker Ximan Li embraces the twists of immigrant experiences in the drama In a New York Minute.
  4. Inbetween Girl
    Though the dialogue is often hit-or-miss, this young adult drama doesn’t simply put a fresh spin on old tropes: It takes seriously the messiness of growing up, the hardest parts of which involve accepting life’s ambiguities.
  5. All My Puny Sorrows
    The ensemble builds believable chemistry as intimate family members, and when their characters deliver their arguments for life or death, the stakes feel appropriately high.
  6. Black Site
    Perhaps the most depressing thing about Sophia Banks’s Black Site — a dreary, underwritten thriller — is an ending that suggests a sequel might already be in the works. For the sake of its beleaguered star, Michelle Monaghan, I can only hope not.
  7. Crush
    It is clear from the offset which sibling will win both Paige’s affection and the obligatory climactic smooch. The journey there can drag. More fresh is the movie’s sex-positive empathy.
  8. Bad Roads
    The four wartime stories in “Bad Roads” fall short on delivering any meaningful insight into the nature of conflict, relying instead on moments of lackluster tension and shock value that greatly overstay their welcome.
  9. Anaïs in Love
    What took a while to grasp is that it isn’t necessary to like Anaïs. What’s crucial is that you stick with her, that you listen to what she says and doesn’t say, that you look beneath the skittishness to get a handle on what drives this woman — that you see her for who she is.
  10. Luzifer
    Its intellectual aspiration produces an ideologically crowded film, where each philosophical meditation struggles to receive the attention and depth it deserves. Perhaps that is the point: Brunner seems to want to leave us with more questions than answers — or at least, compel us to search for the devil in everything.
  11. Africa
    The result is a bittersweet family portrait that, though relatable, lacks the specificity that makes for truly universal cinema.
  12. Hello, Bookstore
    Tannenbaum’s fondness for his store and its wares is a beautiful thing to behold, even at its most vulnerable.
  13. Fortress: Sniper's Eye
    A sequel so dumb that no effort by Willis could reasonably be expected to save it.
  14. Fiddler's Journey to the Big Screen
    Raim is interested in how Jewison sought to preserve the story’s essence while making creative updates, and in doing so “Fiddler’s Journey” touches on issues of Jewish representation but does not interrogate them.
  15. Firebird
    Each line and image feels predetermined, as if Rebane and his characters had already decided this love story was a losing battle. There is loss, but little sense of risk.
  16. Vortex
    Among the comforts Vortex refuses is the bittersweet balm of nostalgia. It’s a blunt reckoning with the inevitability of loss, including the loss of memory. We dream for a while, and then we sleep.
  17. I Love America
    Marceau beams with unshakable good vibes, like a lion in the sun, though that makes her woes feel not so woeful. But Azuelos’s film does glimpse moments that feel true to the sometimes strange complexity of emotions.
  18. Los Conductos
    Out of Pinky’s marginalized life, Restrepo conjures a lush but nevertheless desolate cinematic atmosphere.
  19. Memory
    It plays as if the worst episodes of “Law and Order: Special Victims Unit” have all been processed in a blender and then stretched to nearly two hours long.
  20. The Mystery of Marilyn Monroe: The Unheard Tapes
    Mostly the film presents a banal rehash of established facts and well-circulated rumors about Monroe’s life.
  21. Hatching
    A sometimes uneasy merger of monster movie and psychological horror — with a dollop of social-media satire — this inventive first feature mines tween confusion (there are nods to both bulimia and menstruation) for grotesque fun.
  22. The Survivor
    While Levinson is not working from his own history as in “Diner” or “Avalon,” The Survivor, partly because of its subject matter and postwar milieu, feels of a piece with those overtly personal films. Whatever its flaws, it’s powerful.
  23. Navalny
    This documentary, directed by the Canadian filmmaker Daniel Roher (“Once Were Brothers: Robbie Robertson and the Band”), plays like a crowd-pleaser, a profile of a politician with the unflagging courage to swim against a rising totalitarian tide. It helps that Navalny has a movie star’s charisma and wit.
  24. Polar Bear
    To its credit, Polar Bear isn’t just playing in the snow; there’s a very conscious through-line of conservation, highlighting how climate change has negatively affected the Arctic’s ecosystem
  25. Stanleyville
    The contest intentionally lacks meaningful rewards, an obvious metaphor for life’s arbitrary stakes. But as cinema, the lack of purpose becomes a test of patience.
  26. Hit the Road
    What makes Hit the Road so memorable and devastating is the way it explores normal life under duress.
  27. The Unbearable Weight of Massive Talent
    The director Tom Gormican, who wrote the script with Kevin Etten, gets the job done, churning the nonsense. There are no surprises other than the movie is watchable and amusing, though it’s too bad Gormican didn’t let Cage and Pascal just go with the absurdist, shambolic flow.
  28. The Northman
    What’s perhaps most impressive about The Northman is that it hurtles through 136 minutes of musclebound, shaggy-maned mayhem without a whisper of camp or a wink of irony. Nobody is doing this for fun. Even if, in the end — thank goodness — that’s mostly what it amounts to.
  29. Charlotte
    In the end, Charlotte is bereft of the spirit of the artist who made the uncanny “Life? or Theatre?” What an even better tribute the movie would have been had it also taken heated energy from Salomon’s art.
  30. Y cómo es él?
    Though Winograd questions the film’s gender biases in the conclusion, he does so unconvincingly. At a quick 95 minutes, at least the whole thing zips by, however brainlessly.
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