The New York Times' Scores

For 16,170 reviews, this publication has graded:
  • 47% higher than the average critic
  • 4% 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: 60
Highest review score: 100 Ilo Ilo
Lowest review score: 0 Grown Ups
Score distribution:
16170 movie reviews
  1. A plot twist saves (that might not be the word for it) Don’t Tell a Soul from being absolutely oppressive, merely by injecting a scintilla of “what happens next” appeal — and letting the always-interesting Wilson stretch a bit.
  2. It’s both intimate and analytical, a sensitive portrait of real people undergoing enormous change and a meditation on what that change might mean. It taps into something primal in the human condition, a basic conflict between the desire for freedom and the tendency toward organization — an argument, finally, about the meaning of home.
  3. The result is at once suspenseful, visually engrossing and intellectually bracing. It also raises urgent, sometimes uncomfortable questions about power, privacy and the ethical challenges of examining the past.
  4. Instead of lending immediacy, the padded-out documentary conceit only spotlights the stiltedness, and Parker falls short of building credible drama out of urgent issues.
  5. It’s a buffet of only sour dishes, a rank fete of foulness.
  6. Predictable to a fault, the movie coasts pleasurably on Neeson’s seasoned, sad-sweet charisma — an asset that’s been tragically imprisoned in mopey-loner roles and generic action thrillers.
  7. Adding a fairy-tale cast to a generic horror setup is of no benefit to Hunted, Vincent Paronnaud’s unpleasant merger of slasher movie and survival thriller.
  8. Oppenheim resists easy misanthropy, showing unexpected empathy for people who have cocooned themselves from the outside world, only to confront its headaches anyway.
  9. Distinguished by a modestly discreet directing style that allows the actors to shine, My Little Sister offers neither false uplift nor dreary realism.
  10. [A] brisk, prismatic and richly psychodramatic family portrait.
  11. The best that Locked Down has to offer, at least while we remain in the throes of a deadly crisis, is a window into a luxurious space to quarantine.
  12. Malcolm’s manner can be didactic, but One Night in Miami is anything but. Instead of a group biopic or a ready-made costume drama, it’s an intellectual thriller, crackling with the energy of ideas and emotions as they happen.
  13. The movie gets so drunk on its stylistic affectations (and unfunny attempts at cerebral comedy) that by the time it sobers up to take James’s mental health seriously, it’s too little, too late. And also too bad, as it’s only in the last quarter that the viewer gets to appreciate the range of the movie’s appealing lead players.
  14. Racial injustice, economic inequities, police corruption, media ethics and foreign-policy scandals are all crammed — a bit too cursorily — into Stanley Nelson’s brisk primer on the 1980s crack epidemic.
  15. Dopey dialogue and less-than-scrupulous continuity augment the ramshackle vibe of a movie that’s too inept to qualify as camp or cult.
  16. It could be argued that the film needed a little more documentary-style explanation about how the facility works — how long children stay, the goals of the treatment, and so on. But ultimately, Philp can’t be blamed for stressing emotional engagement over exposition.
  17. The portraits are moving and informative. . . . As an aesthetic endeavor, though, The Reason I Jump is questionable, regardless of how much sensitivity the filmmakers took in their approach.
  18. “Blizzard” is almost immaculately shot and edited, but its good-taste approach to warfare, along with its treacly music score by Lolita Ritmanis, underscores what seems its main reason for being: a relentless “Go, Latvia!” agenda — which has extended to its marketing here.
  19. It doesn’t take long to notice that these are earnest, even humorless, women. They are too busy contemplating their daily turmoil to play or crack a joke. As a result, their chemistry never coheres, and the movie flounders under the weight of lifeless sincerity.
  20. While My Rembrandt poses heady questions about the difference between acquisitiveness and appreciation, it mostly plays like a straight art-world documentary that itself would have benefited from a more vertiginous, obsessive approach.
  21. Happy Face dares to be distinctive, and that’s something, even if the behavior — particularly Stan’s — isn’t always convincing.
  22. The twists come rapidly in the movie’s first half; in the second, the narrative dissolves into a zigzag of flying bodies and explosions that bend the laws of space-time. But the implausibility of it all is a perk: There’s never a moment in this rollicking film when you can tell what’s coming next.
  23. Lacôte crosses the open-ended energy of griot traditions with the surging tensions of the prison’s close quarters.
  24. Set over eight harrowing months, Pieces of a Woman is a ragged, mesmerizing study of rupture and reconstruction. The ending is ill-judged, but the movie understands that while we love in common, we grieve alone.
  25. Hudlin transforms a film that would be, in lesser hands, a formulaic hardship-as-aesthetic drama, into an earnest examination of what community means on the field, in the classroom and in our society.
  26. This new cinematic imagining of Carlo Collodi’s classic fantasy tale is alternately enchanting and befuddling.
  27. A muddled mélange of black comedy, revenge thriller and feminist lecture, Promising Young Woman too often backs away from its potentially searing setup.
  28. It’s a small, delicate movie that doesn’t hit every note perfectly, but its combination of skill, feeling and inspiration is summed up in the title.
  29. Patty Jenkins is behind the camera again, but this time without the confidence. Certainly some of the problems can be pinned on the uninterestingly janky script, a mess of goofy jokes, storytelling clichés and dubious politics.
  30. Ashe is using a familiar, long-derided film genre both affectionately and critically to explore the gleaming surfaces of life as well as the anguish that lies beneath.

Top Trailers