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 Adam Project
    Blissfully under two hours, The Adam Project is no modern classic. But it does benefit from an affecting finale that pays special attention to Adam’s strained relationship with his father.
  2. Calendar Girl
    This affectionate portrait is also well grounded. Finley is remembered as a hard worker among other hard workers.
  3. Rock Bottom Riser
    The film is sometimes hard to follow, because the connection between the images and the voice-overs is not always clear. But taken as a whole, Rock Bottom Riser leaves viewers with a strong sense of how native Hawaiians view themselves and their future, and encourages inquiry into how their land might be preserved.
  4. Dear Mr. Brody
    Dear Mr. Brody invites timely thoughts about the wealthy and income disparity.
  5. Great Freedom
    The director Sebastian Meise, who wrote the script with Thomas Reider, tells this story with open feeling and steady, emphatic calm.
  6. Lucy and Desi
    Here is a documentary that invites us to delight in the unexpected pairing of a famed funny lady and a hunky musician — but without analysis or nuance. Better to flip on a few “I Love Lucy” reruns instead.
  7. The Jump
    In its first half-hour, the documentary The Jump brings a bracing immediacy to a 50-year-old Cold War incident.
  8. The Unknown Man of Shandigor (1967)
    This gangly picture isn’t a lost masterpiece, to be clear. But it’s a magnetic curio, a fascinating relic of a vanished strain of European cinema.
  9. Hell is Empty
    Forget about hell, the emptiness these filmmakers must address lies primarily in their predominantly female cast of characters.
  10. The Long Walk
    The reward for waiting for the fog to lift is a movie that presents a unique take on science fiction, one that looks for the ghosts that linger on in a world that has been shaped by technology.
  11. Nightride
    The one-take gimmick — much easier to achieve now thanks to digital cameras —has become common enough that it barely qualifies as novel.
  12. Mother Schmuckers
    The title is bad enough, but it’s all downhill from there in the revolting Belgian farce Mother Schmuckers. I would say words fail me, but they don’t. It’s just that most of them are unprintable.
  13. Asking for It
    Subtle as a sledgehammer and shallow as a saucer, Asking for It is painted in such broad strokes that — with just a smidgen of humor — it would pass for satire.
  14. Huda's Salon
    Where Abu-Assad falters is in turning Huda into a didactic mouthpiece for the very themes that Reem’s tribulations, filmed up-close with a jerky camera, convey effortlessly.
  15. Fresh
    A wickedly funny cannibal romance and dazzling feature debut from the director Mimi Cave.
  16. After Yang
    With eyebrow flicks, tiny physical modulations and shifts in pitch, Farrell movingly turns a shadow into a recognizable person, while also bringing much-needed humor to the movie.
  17. Against the Ice
    It’s perfectly formulaic.
  18. The Batman
    I can’t say I had a good time, but I did end up somewhere I didn’t expect to be: looking forward to the next chapter.
  19. Tyler Perry's A Madea Homecoming
    The script has plot twists so cuckoo they make soap operas look cowardly.
  20. Careless Crime
    Mokri constructs his film like a control experiment, tweaking each of its variables — time, space, narrative — as if to see what he might catalyze.
  21. The Desperate Hour
    The only thing I want less than a thriller about a school shooting is a thriller whose other main character is the main character’s iPhone.
  22. Butter
    For all its ache and churning emotions, “Butter” winds up being little more than a meager “Afterschool Special.”
  23. Servants
    Ostrochovsky often begins shots with characters frozen in place for several seconds before they launch into action, as if they were chess pieces moved by God across the bare lines of the seminary’s crumbling stone architecture.
  24. Friends and Strangers
    While the pieces don’t necessarily fit in obvious ways, that’s presumably the point — and part of what makes Friends and Strangers so singular.
  25. Family Squares
    Filmed during quarantine in 2020, Family Squares uses the communication tools of the pandemic era to deliver a film with the intimacy of a home movie, while still exploring the chaos and limitations of technology.
  26. No Exit
    No Exit drops an arsenal of twists and rug-pulls at a machine gun’s pace, though Power, the director, doesn’t quite know how to milk the tension, and the perfunctory script (written by Andrew Barrer and Gabriel Ferrari) tries and fails to give the events a greater resonance.
  27. Big Gold Brick
    The title of this perfectly well-appointed production is apt: Big Gold Brick looks all right but it truly just sits there.
  28. The Burning Sea
    We get little more than a bland romance, smoothly professional special effects and a story that’s finally too predictable to raise the heart rate.
  29. Creation Stories
    “Stories” does have a handful of funny and affecting scenes. But it’s most interesting when McGee, after sobering up, makes an ill-advised alliance with Tony Blair.
  30. Hellbender
    While the result is a mostly-compelling tale of matriarchal megalomania, occasionally this group composition feels more like a jumble.
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