The New York Times' Scores

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For 20,271 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 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. The Alpinist
    The movie could stand to demystify how some of its most terrifying early shots were filmed. (Later on, we’re told Leclerc agreed to carry a small camera himself to shoot part of a conquest in Patagonia.) But it does capture its subject’s philosophy.
  2. Kate
    The movie presents an eye-catching fantasy of a candy-colored Japanese underworld. But the exoticism feels as cheap as a whiff of a green tea and musk cologne called Tokyo wafting over a department store counter. Even Winstead, stoic in her fashionably boyish haircut, looks bored.
  3. Small Engine Repair
    The film, which Pollono also directs, provides more depth than the original but still flounders in the translation from stage to screen.
  4. Cinderella
    Among the countless iterations the story has weathered through the ages, this Cinderella (streaming on Amazon), starring Camila Cabello as the orphaned maiden, is forgettable. It is oddly transfixing, though, as a study in the semiotics of the modernized fairy tale.
  5. The Big Scary 'S' Word
    Hope is not a policy, as the saying goes, so Bridge gamely tries to provide both, fleshing out ideals with examples.
  6. Happier Than Ever: A Love Letter to Los Angeles
    Despite the modern technology, the setting and the sound draws attention to what is retro about this young star’s style, the influences from bossa nova, jazz, and traditional choral music that pop up in her chart-topping records.
  7. Who You Think I Am
    Because much of the rest of the story is so underdeveloped — notably Claire’s intimate life with her frustratingly generic children — the character overwhelms everything, including the fragile realism.
  8. Anne at 13,000 ft
    The title character is one of those difficult women that the movies just can’t quit and rarely prove as interesting as filmmakers seem to think. Anne obviously has issues — psychological, behavioral, familial — but the movie isn’t big on specifics. It’s a pretty, uninvolving blur.
  9. Faya Dayi
    Unifying this elliptical canvas is the sense of a contemplative search, which can also mean an escape from an altered homeland, perhaps to dull what feels lost.
  10. Memory House
    Trapped in a hopelessly alienating world, Cristovam would rather buck than surrender; a fatal end would seem inevitable, but wisely, Miranda Maria pulls back the reins with a glimpse of empathy that teases a potential way forward.
  11. We Need to Do Something
    Despite some nifty freak-outs, the movie’s buildup can lack a certain snap.
  12. Yakuza Princess
    The cynical pro forma luridness Yakuza Princess grinds out suggests that sensationalist cinema, or at least its most ostensibly mainstream iteration, is currently depleted of resources.
  13. Mogul Mowgli
    With the director of photography (Annika Summerson) and the sound designer (Paul Davies), Tariq stitches domestic drama, satire and magical realism into a tissue of moods and meanings, held together by the shattering credibility of Ahmed’s performance.
  14. Bitchin': The Sound and Fury of Rick James
    The movie wants the viewer to believe that James didn’t have it easy — and he didn’t. But it can’t skate over the aberrant actions that led to his imprisonment. “Bitchin’” is fascinating and troubling viewing.
  15. The Year of the Everlasting Storm
    The omnibus film The Year of the Everlasting Storm assembles pandemic-made shorts from around the globe. But with just two decent segments out of seven, this anthology uncannily replicates the sensation of feeling trapped.
  16. Wild Indian
    The ensuing violence and its aftermath are chilling, woeful and utterly consistent with the tragedy that began long before a fateful afternoon in the woods.
  17. Worth
    For all the ways in which it might give short shrift to the politics or policy of the fund, Worth is uncommonly moving by the standards of biopics and certainly by the standards of movies that risk addressing 9/11 so overtly.
  18. Shang-Chi and the Legend of the Ten Rings
    The film uses the superficial markers of Asian culture and filmmaking without presenting anything unique in its Marvel take on that tradition.
  19. Vacation Friends
    Clay Tarver, a veteran of the TV series “Silicon Valley” (and a founder of the postpunk band Chavez) directs with an eye and ear that’s a cut above what one usually gets with this sort of fare.
  20. He's All That
    Hot people pretending to be homely is par for the course in makeover movies; the real thrill lies in watching opposites attract. But the catfights, confessions, and dance-offs in He’s All That lack the sting of real romantic conflict, and there’s nary a spark between Rae and Buchanan.
  21. Kipchoge: The Last Milestone
    The athleticism, physics and what one person calls the “bit of ballet” of the event are all stirring to witness.
  22. Bob Ross: Happy Accidents, Betrayal & Greed
    The melancholy result is that the painter with the spectacularly lulling voice, the hallmark ’fro and the liberating kindness remains a mystery; not the brand that’s made millions but the guy who touched millions.
  23. No Man of God
    For anyone who has heard audio of Bundy, Kirby’s impersonation will sound chillingly close to the real killer’s deadened, yet at times disturbingly raffish, cadence. Wood is persuasive, too, although Kit Lesser’s script writes the character as a cliché.
  24. Mosquito State
    Borne along on the whine of insects and a lead performance of surpassing strangeness, “Mosquito State” is a disquieting merger of body horror and social commentary.
  25. The Colony
    Though it centers on one woman, anything we might stand to learn about her own developing values is quickly swallowed by overcomplicated narratives about secondary characters, corrupt colonizers and family secrets.
  26. Together
    That it’s bearable at all is entirely because of the superlative acting skills of James McAvoy and Sharon Horgan as an unnamed couple forced to endure an extended London lockdown.
  27. Isabella
    While the pieces more or less fall into place, trying to solve the mysteries of Isabella may be missing the point.
  28. American Sausage Standoff
    What ensues when Edward and the town’s reactionaries clash cannot be properly called hilarity, and the end product of this dismal film is mostly befuddlement.
  29. Lily Topples the World
    No arguments, frustrations or consequential disappointments mar the film’s unvaryingly upbeat tone. This leaves us with a movie that feels more like a marketing tool for her self-designed brand of dominoes than a nuanced portrait of an unusual talent.
  30. Candyman
    It’s easy to shock viewers with splatter but the old gut-and-run gets awfully boring awfully fast. Far better is the slow creep, the horror that teases and then threatens. The dread inexorably builds in Candyman, which snaps into focus after Anthony learns of the boogeyman.
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