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. Free Guy
    Free Guy has charm, but there’s not much memorable in the same old quest, same old boss fight, then game over.
  2. Misha and the Wolves
    Misha and the Wolves plays best on first viewing, with its surprises intact.
  3. Pickpocket (Xiao Wu)
    As skillfully written and directed by Jia Zhang Ke, a product of the Beijing Film Academy who uses a nonprofessional cast, the cool-eyed Xiao Wu appears to be more than a relatively nonjudgmental portrait of an emotionally repressed young thief turned against the weight of conformity.
  4. Bix: 'Ain't None of Them Play Like Him Yet' (1981)
    The movie looks like a 40-year-old mix of talking-head and archival footage. What makes it extraordinary is the story it tells of an uncanny musician and his beautiful playing and songs.
  5. The Kissing Booth 3
    Like a scoop of vanilla ice cream atop scoops of chocolate and strawberry, The Kissing Booth 3 rounds out the sugary teen trilogy with a fitting, if bland, finale.
  6. Bring Your Own Brigade
    It’s a tough, smart, impressive movie, and one of its virtues is that Walker, a British transplant to Los Angeles, doesn’t seem to have figured it all out before she started shooting.
  7. What We Left Unfinished
    Ghani’s mode is less interrogative than associative. Her montage of film fragments illustrates and sometimes poetically belies the interviewees’ recollections, evoking the ambiguous and unresolved contours of collective memory.
  8. The Viewing Booth
    Though moderately compelling to bear witness to one individual’s objections in real time, The Viewing Booth touches on gloomy truths about spectatorship in the digital era that might have felt novel a decade ago.
  9. The Last Matinee
    Tipping his hat to the Italian thriller genre known as giallo, Contenti (who wrote the unfussy script with Manuel Facal) sets up a string of witty, highly specific slayings of audience members unaware they’re both voyeurs and prey.
  10. Whirlybird
    Drawing on an amazing video stockpile from the 1980s and ’90s, Whirlybird is an editing feat.
  11. Swan Song
    Kier is unfailingly captivating in the film, which makes it all the more bothersome that the film itself doesn’t match him.
  12. John and the Hole
    Chilly, enigmatic and more than a little spooky, John and the Hole patrols the porous border between child and adult with more style than depth.
  13. Naked Singularity
    This convoluted clash of competing interests, though, is so poorly explained it’s as arduous to untangle as it is to enjoy.
  14. Vivo
    Vivo, despite its exuberant beginning and heartfelt ending, struggles to offer more than odd turns and clichés in the rest of its story.
  15. The Macaluso Sisters
    [Emma Dante] imagines the ripple effects of a sister’s death across generations with metaphysical grace and hints of fantasy, straying from the plot-reliant mold of most human dramas toward something more haunting and powerful.
  16. The Suicide Squad
    The violence is the most consistently inventive part of the whole package, though it grows tiresome in its thudding repetition. Like the story’s superficial finger-wagging at American wrongs, the brutality is both decorative and ritualistic.
  17. Annette
    Annette masters its own paradoxes. It’s a highly cerebral, formally complex film about unbridled emotion.
  18. Pray Away
    The harms conversion therapy causes, and the tactics it uses, aren’t news at this point, and Pray Away is more interesting when it focuses on how most of its subjects eventually embraced gay and bisexual identities despite having formerly been so public in their homophobia. Some shifts weren’t long ago.
  19. The Last Mercenary
    The fight scenes have wit and Van Damme delivers his lines with just the right amount of weary good humor.
  20. The Boy Behind the Door
    Charbonier and Powell, themselves childhood friends from Detroit, focus on the boys’ allegiance to each other with an unwavering focus. This intent minimalism is also why the movie does not transcend its virtuosic, almost abstractly taut storytelling.
  21. Fauna
    Brimming with postmodern flourishes, Fauna calls attention to the slippery nature of performance and identity, lodging a complex, yet highly engrossing critique of narco culture’s influence on Mexican storytelling — and it does so without a drop of that pesky didacticism.
  22. Sabaya
    Mahmud and Ziyad, volunteers at the Yazidi Home Center in Syria, will make several more such trips over the course of the film, and hundreds more after the cameras stop rolling. Their task is enormous, and it demands a stoicism that Hirori’s intrepid, immersive filmmaking mirrors.
  23. Tailgate
    This well-choreographed hunt is chilling, sure — particularly because of de Wolf’s terrifying performance and unconventional choice of weapon — but it’s also a little bit fun.
  24. The Green Knight
    The Green Knight is always interesting — and occasionally baffling — but at the end it rises to a swirling, feverish pitch of feeling and philosophical earnestness.
  25. Nine Days
    The narrative conceits of Nine Days, while exquisitely constructed, are intricate to the point of laborious. At times the movie almost sinks under their weight.
  26. Never Gonna Snow Again
    Utgoff is irresistibly compelling, instilling in his character a silent yet singular presence worthy of the “superhero” status that he ultimately acquires.
  27. Lorelei
    The film is invested in accurately depicting the details of its character’s lives, but its collection of studied impressions doesn’t coalesce into a coherent final portrait.
  28. Resort to Love
    In Resort to Love, the lack of discernible chemistry between the characters makes it hard to believe they belong together.
  29. The Evening Hour
    King works to portray a tight mesh of relationships around Cole, directing Elizabeth Palmore’s valiant adaptation of the sensitively rendered Carter Sickels novel. But lacking a strong central performance from Ettinger — who gets stuck on a half-pained, half-exasperated setting — much of the movie feels like a series of comings and goings, entrances and exits.
  30. Enemies of the State
    Kennebeck weaves uncertainty into the formal design, staging re-enactments mingled with original audio, for instance. The movie is a spoiler deathtrap, but the questions it raises are fascinating.
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