The New York Times' Scores

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For 20,268 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 4.4 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 20268
  2. Mixed: 8,427 out of 20268
  3. Negative: 2,464 out of 20268
20268 movie reviews
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  1. The Family Plan 2
    The director Simon Cellan Jones and the writer David Coggeshall return for this better executed, equally goofball follow-up.
  2. Selena y Los Dinos
    It’s an accessible presentation for fans. Others may find it too insider-focused, even as it renders Selena’s symbolic self more human.
  3. A Very Jonas Christmas Movie
    While the vanilla songs lack magic, the dad jokes and brotherly roasting feel like their own kind of delightfully unserious gift.
  4. Come See Me in the Good Light
    Nonfiction films often grapple with mortality and the meaning of existence, and usually those center on grief. This one wraps its arms around the full range of feeling that follows a terminal diagnosis: fear, love, desire, anger, wonder, hope, despair, even joy.
  5. The Running Man
    There’s nothing wrong (or incorrect!) about either Wright’s desire to please or the righteousness, and at times you can sense a bit of anger wafting off the screen, even if Wright and Powell mostly seem to be having a very good time.
  6. Nouvelle Vague
    Watching it again, I recognized that Linklater’s film is itself an expression of a certain approach — a consciousness — toward cinema’s pleasures and possibilities, one that at once embraces the art’s past and insists on its future.
  7. Being Eddie
    Being Eddie is a great time. Murphy is good company, and he’s hilarious as ever.
  8. Arco
    Like a cross between a Studio Ghibli joint and “Interstellar,” Arco, by the French comic-book artist turned filmmaker Ugo Bienvenu, strikes a lovely balance between fantastical kid-friendly wholesomeness and real-world bleakness.
  9. Bunny
    Bunny is a New York movie that eschews realism but still brims with authentic affection, and in doing so, bursts with life.
  10. The Carpenter's Son
    To graft the story of Jesus onto the template of a genre film is, if blasphemous to the faithful, and mainly just silly to everyone else.
  11. King Ivory
    While this slick film wants to use their stories to put faces to the fentanyl epidemic, Swab’s genre instincts get the better of him.
  12. Now You See Me: Now You Don't
    It’s all jocular and surface-level, but it’s also not trying to be anything more than old-fashioned blockbuster entertainment — neither overly serious nor, on occasion, allergic to a bit of sentimentality.
  13. Rebuilding
    One could surmise that it takes a village of women to save a stubbornly reticent man. But the lesson of Rebuilding is gentler, broader and timelier: Accepting help is a necessary step toward offering it to others in lasting ways.
  14. The Things You Kill
    Debts to Luis Buñuel and David Lynch are obvious, but The Things You Kill has its own way of getting inside its protagonist’s head space — and yours.
  15. Keeper
    If some of the cabin’s lore is on the silly side, Maslany sells Liz’s terror so convincingly that the urge to giggle is dampened. Her lock on the film’s tone is absolute.
  16. Put Your Soul on Your Hand and Walk
    Put Your Hand on Your Soul and Walk is not just a document of a life and a hope extinguished. It is also the best way to hear from Hassouna. And it’s a film about crossing borders; we get to see just a little of what she saw.
  17. Sarah's Oil
    A David and Goliath story with big feelings, edifying speeches and a swelling score, Sarah’s Oil is a movie that will surprise nobody. Viewers might even make out a regressive strain reinforcing the feel-good mood.
  18. Sentimental Value
    Trier’s lightness of touch makes a striking contrast to the film’s emotional weightiness. Death haunts this movie, as it does other of Trier’s features, and while “Sentimental Value” has bursts of pure comedy (it can be very funny), it’s steeped in melancholy.
  19. Belén
    The film weaves a surprising amount of history into a procedural framework. It’s eye-opening, even though it’s hitting the same old beats.
  20. Caterpillar
    Some of what Mandelup captures is the result of sharp observation, and some of it is incredible chance.
  21. Modi - Three Days on the Wing of Madness
    The energetic and arguably strenuous performance by the lead actor, Riccardo Scamarcio, is something of a flex, to be sure.
  22. Christy
    This fierce contest of genres — in this corner, sports-saga triumph; in this corner, too-real female endangerment — is the director David Michôd’s point.
  23. Nuremberg
    Evidently, as this muddled movie tells it, the climactic lesson of the Nuremberg trials was that America had a friend, too.
  24. Peter Hujar's Day
    The result is a charming experiment that should delight those who like their pleasures both nostalgic and voyeuristic.
  25. Predator: Badlands
    In the end, what is most surprising about Predator: Badlands is also the most obvious, which is that filmmaking matters even to formulaic, apparently indestructible franchises.
  26. Die My Love
    Submerged in Grace’s overheated, claustrophobic, tedious, maddening reality, we are drowning, just like her. It is full-body immersion cinema.
  27. Fire of Wind
    The film’s intriguing symbolism diminishes over time, but remaining is an elegant portrait of solidarity; a vision of workers enmeshed in the land that sustains them.
  28. The White House Effect
    Of course, you could argue that any documentary tells its story as much with what it omits as with what it includes. But by letting the news footage, speech clips and documents “speak,” the transformation of the rhetoric is undeniable, as are some of the causes. The tale is not flattering, but it is illuminating.
  29. Auction
    Bonitzer evinces an appreciable warmth toward his creations that you feel even from the analytic distance he establishes.
  30. Love+War
    Love + War chooses to go wide rather than deep, resulting in a movie that, while pleasingly dynamic, offers less psychological insight than the photographs she has gambled everything to take. And perhaps that’s as it should be.
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