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. Joy Ride
    Some of the material feels fairly standard, as they share misfit upbringings and showbiz gossip, but each veteran comedian lends an unpredictable element through self-deprecating candor.
  2. A Mouthful of Air
    Directed by Amy Koppelman and based on her novel of the same name, A Mouthful of Air aspires to show how depression can sully even the loveliest of scenes. The scenes the movie chooses, however, play like a parody of white privilege.
  3. The Souvenir: Part II
    Hogg’s filmmaking presents its own forceful draw and is the reason I watched Souvenir Part II again.
  4. Snakehead
    Wu plays Dai Mah with a no-frills abandon that often makes her feel like the film’s protagonist, but even her performance can’t overcome the narrative missteps.
  5. Attica
    There is a fascination in hearing about the logistics of the riot and just how surreal events were for the prisoners.
  6. Hypnotic
    The twists in Hypnotic may not be brilliant, but they are abundant, making for the sort of straight-to-streaming treat best enjoyed on a couch, with company who will laugh with you and let you yell at the screen.
  7. Bulletproof
    What this admirably hands-off film shows is how the feelings of anxiety that have surrounded school shootings have been monetized and translated into demand for consumer products. It is a nightmarish vision — the military industrial complex deployed in the halls where children ought to roam.
  8. Violet
    Crowding the screen with jarring sounds and disturbing visuals, Bateman experiments with so many cinematic frills and fancies that Munn’s touching work is too often obscured.
  9. The Spine of Night
    Alas, all the world-building filmmakers may contrive doesn’t count for much if they don’t put it across visually. And this heavily rotoscoped vision does not get where it needs to be to achieve genuine trippiness.
  10. My Hero Academia: World Heroes' Mission
    “World Heroes’ Mission” has little to offer veteran fans of the series or new viewers, who won’t find any of what makes the series great in what’s essentially a filler arc.
  11. Only the Animals
    The multiple viewpoints are just a clever, self-satisfied device to deliver stale goods and familiar ugliness with a soupçon of glib class politics.
  12. Antlers
    The film’s self-seriousness is as oppressive as its setting’s monotonous fog.
  13. Army of Thieves
    A winking attitude doesn’t make the extremely tired formula any less rote or tiresome. Despite the in-jokes and references (including nods to “Point Break” and “Heat”), the movie can’t transcend its own clichés.
  14. Last Night in Soho
    Nothing in Wright’s previous work quite prepared me for Last Night in Soho, its easy seductiveness and spikes of sophistication. Dissolving the border between present and past, fact and fantasy, the director (aided by the euphoric talents of the cinematographer Chung-hoon Chung) has produced some of the most dazzling imagery of his career.
  15. Warning
    Together, these tales feel like the hangover at a wake for mankind. The film’s dusky pastel color palette recalls dying flowers on a grave. Yet, even as the synth score mutters anxiously in the background, Alexander takes a prankish delight in her own doom and gloom.
  16. Learning to Live Together: The Return of Mad Dogs & Englishmen
    Here the now-elders seem delighted to make a joyful noise with the generations they influenced.
  17. No Future
    In flattening everything into a single shade of funereal gray, “No Future” has none of the ineffable, multifaceted complexity of life.
  18. Minyan
    The film allows its societies to speak through gestures, whether it is the passing of personal possessions after a death or the brush of bodies behind a bar, and its portrait of both Jewishness and queerness is richer for it.
  19. The Electrical Life of Louis Wain
    Louis is a funny, complicated character, and while the movie could have expanded its horizons (particularly in view of the changes roiling the art world), Cumberbatch fills in this expressionistic portrait exquisitely.
  20. Ron's Gone Wrong
    As family entertainment, it’s fine.
  21. Becoming Cousteau
    It’s a swift-moving, detailed biography, recounting a life that was long, eventful and stippled with tragedy and regret.
  22. Women Is Losers
    It’s arguable that Celina’s emotional distance is a true reflection of how working class women manage their feelings in order to cope. But it could be dissatisfying to a viewer craving to see women’s interior lives; their pain rather than their resilience.
  23. Escape from Mogadishu
    With little interest in elucidating the conflict at hand, much less in distinguishing between the various Somali parties in play, “Escape” is a wildly inadequate history lesson — it’s a silly blockbuster after all. More offensive is the film’s eagerness to whittle one nation’s traumatic episode into a setting for confectionary escapades.
  24. Found
    While the young women harbor overlapping questions, Found makes it clear they also have yearnings unique to them.
  25. Dune: Part One
    The designs and textures of the movie’s various worlds and their inhabitants are arresting, filigreed and meaningful, with characters and their environments in sync.
  26. The French Dispatch
    Anderson expresses a fan’s zeal and a collector’s greed for both canonical works and weird odds and ends, a love for old modernisms that is undogmatic and unsentimental. Which is not to say unfeeling.
  27. Night Teeth
    A strangely listless vampire tale that unspools with some style and precious little sense.
  28. All About My Sisters
    A film bristling with the kind of familial rancor that usually only emerges behind closed doors.
  29. Prism
    Densely thoughtful, Prism has beautiful and poignant moments.
  30. Introducing, Selma Blair
    The greatest asset of the film is its ability to simulate the intimacy of disclosure, and Blair’s comfort with the camera — her actress-y will to entertain — makes her a uniquely endearing subject.
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