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. Die in a Gunfight
    It’s a shame that it’s all so wincingly contrived. The film tries so hard to be slick, but its efforts are both unoriginal and painfully amateurish.
  2. Pig
    Pig, Michael Sarnoski’s stunningly controlled first feature, is a mournful fable of loss and withdrawal, art and ambition.
  3. Roadrunner: A Film About Anthony Bourdain
    With immense perceptiveness, Neville shows us both the empath and the narcissist: The man who refused to turn the suffering he saw in war zones into a bland televisual package, and the one who would betray longtime colleagues to please a new lover.
  4. Casanova, Last Love
    Though Jacquot throws into question our presumptions about figures like Casanova, as well as vilified women like La Charpillon, he leaves it at that, leaving us wondering what exactly it was all for.
  5. Space Jam: A New Legacy
    There’s a nearly astute satire of the app-driven life bubbling under the meta high jinks. And the movie throws so many gags at the screen that several jokes actually stick. But the purposeful sensory overload mostly yields head-spinning stupefaction, leaving a viewer feeling like Wile E. Coyote after hitting a mesa wall.
  6. Gunpowder Milkshake
    Papushado’s flamboyance feels cocky and indiscriminate, as if he’s simply trying really hard to make every image seem cool.
  7. We Intend to Cause Havoc
    The music itself is exciting enough that it washes out some of the unpleasant taste of the film’s early “white people discovering stuff” tone. And Chanda himself is incredibly winning, especially when he takes the stage.
  8. Last Summer
    For all the beauty of its dazzling vacation setting, Last Summer coasts, but not toward any satisfying destination.
  9. Her Socialist Smile
    Her Socialist Smile, written, directed and shot by John Gianvito, is a fascinating and challenging exploration of Keller’s political thought.
  10. The Price of Freedom
    Muckraking documentaries often conclude with declined-to-comment disclaimers, but David Keene, a former N.R.A. president, is here. Toward the end, he chillingly cautions anyone who thinks the N.R.A. might disappear.
  11. First Date
    What follows is a barrage of gunfire, wah-wah guitars and a surprising amount of novelty and heart for a film that can feel as if it’s a road trip through the directors’ inspirations.
  12. Running Against the Wind
    The film is, at the very least, never boring. It’s also, despite a potentially compelling conceit, pretty ridiculous.
  13. The Woman Who Ran
    The Woman Who Ran is a cinematic sketch, and also the work of a master.
  14. The Witches of the Orient
    If the team was derided by their prejudiced (and defeated) foes in the moment of their success, this documentary elegantly restores the glow of legend, saving the champions the trouble of having to explain their heroism in words.
  15. Scales
    Ameen prioritizes symbolism teeming with sensory spirit over plot-based narrative, which ultimately renders her attempt at making a political statement too opaque and disjointed to have much of an impact.
  16. Summertime
    The most successful sequences are the ones that find new ways of illustrating the meaning of a poem besides lingering on the face of the performer uttering purposefully syncopated and painstakingly intonated lines.
  17. Rock, Paper and Scissors
    Given the cast’s three outstanding performances and slick camerawork by Nicolás Colledani, this makes for a fascinating capsule of family brutality.
  18. The Loneliest Whale: The Search for 52
    Neither slick nor propulsive, The Loneliest Whale gently combines aquatic adventure and bobbing meditation on our own species’s environmental arrogance.
  19. Black Widow
    Despite the intriguing opening sequence, which involves shootings, a jet and a family escape, Black Widow, directed by Cate Shortland, lags, unsure of how to proceed with the story.
  20. The Legend of the Underground
    The filmmakers Giselle Bailey and Nneka Onuorah capture arguments as other activists wrestle with the contradictions of James’s motivations. But crucially, they don’t shy away from James.
  21. White on White
    Court — whose languorous pacing heightens the film’s brief, bewildering moments of action — summons an unsettling experience from relatively restrained gestures.
  22. Some of Our Stallions
    No equine beasts adorn this queasy comedy. Too bad.
  23. 915: Hunting Hispanics
    The value of this demystifying film is its tactical breakdown of a form of violence that has become increasingly common in the United States. Here, both prevention and survival are a result of communal strategy.
  24. Cousins
    Widespread racism, discriminatory laws and the Maori people’s centuries-long struggle for autonomy bracket the characters’ lives in Cousins. The film trembles with sound, color and feeling, deriving much of its power from an excellent ensemble cast (particularly Te Raukura Gray and Ana Scotney as the child and adult Mata).
  25. Scenes from an Empty Church
    “Scenes” has its moments, as any film that sits Ryan and Corrigan opposite each other in a confessional would. But even special effects near the end play more like the response to a challenge than a spark of inspiration.
  26. Being a Human Person
    The revelation of Andersson’s method, his painstaking use of trompe l’oeil both painterly and cinematic, is fascinating enough. But the chronicle takes an unexpected turn.
  27. America: The Motion Picture
    A raunchy, aggressively inane cartoon that flips the bird — both onscreen and thematically — to a strain of patriotism that insists that men who profited from slavery were sober-minded heroes whose vision of democracy remains flawless, bro.
  28. Lydia Lunch: The War Is Never Over
    Lunch’s entire aesthetic is centered around trauma: how abusers dispense it, how it is — and how she thinks it ought to be — received, and turned back on the world.
  29. The God Committee
    A natural ham, Grammer only amplifies what is grandiose and bogus in this material.
  30. No Sudden Move
    The schematic for No Sudden Move remains perfectly intact, and the thing itself works pretty much according to the specifications. A consumer-rating agency would give it high marks for safety and efficiency, but it never leaves the showroom.
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