The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. First Love
    Miike’s seemingly offhand inventiveness is evident in almost every shot and cut.
  2. Get Low
    Though the story sometimes wanders into hazy, corny sentiment, its protagonist (called Felix Bush, which was apparently a nickname or alias of Breazeale's) is vivid, enigmatic and unpredictable.
  3. Jauja
    The rounded-off corners of the almost-square frames evoke early movies and antique photographs, and there is wit and mischief in the way Mr. Alonso plays with the relationship between what we see, what we don’t see and what we expect to see.
  4. Blue Collar
    Is Blue Collar an action film or a meditation upon the American Dream? I suspect it wants to be both though it's not very serious at being either.
  5. Changing the Game
    Changing the Game could have gone further, analyzing how fairness in sports is a myth to begin with. But the movie isn’t interested in rewriting the rules; it would rather introduce us to the brave young people who are.
  6. The Immigrant
    The film is earnestly and unabashedly melodramatic to an extent that may baffle audiences accustomed to clever, knowing historical fictions. But it also has a depth and purity of feeling that makes other movies feel timid and small by comparison.
  7. Don't Call Me Son
    The narrowness of its perspective and its relatively brief 82-minute length disappoint. Yet Don’t Call Me Son still manages to be a fascinating, sympathetic portrait of a lost boy abruptly thrown to the wolves.
  8. The Three Burials of Melquiades Estrada
    In a film filled with plaintively expressive faces, characters say as much when they don't talk as when they speak Mr. Arriaga's dialogue, which sometimes sounds like hardscrabble poetry, sometimes sounds real as dirt and is, rather surprisingly, often darkly funny.
  9. The Best Intentions
    For a time, The Best Intentions captures the elements of a profoundly difficult and credible love story, one plagued by essential differences that cannot be resolved.
  10. Detroit
    The film’s struggle against simplification — against the sentimentality, wishful thinking and outright denial that defines most Hollywood considerations of America’s racial past — is palpable, almost heroic, even if it is not always successful.
  11. Kirikou and the Sorceress
    It's more a piece to admire than to be involved by, yet it's easy to imagine children hypnotized by a hero tinier than they are when "Kirikou" is continually loaded into the VCR.
  12. The Edge of Seventeen
    [Ms. Steinfeld] manages a tricky balancing act, making Nadine simultaneously sympathetic and dislikable.
  13. Brooklyn Castle
    It's deeply satisfying watching these public school, hard-knock kids win, and Ms. Dellamaggiore knows it.
  14. Logan
    Logan is a strong argument for bringing the comic-book movie down to earth. It solidly hits its marks as it moves the franchise furniture around, and features striking special-effects scenes in which the world shudders to a near standstill.
  15. Circo
    Circo offers a touching chronicle of a dying culture harnessed to ambitions that remain very much alive.
  16. 28 Years Later
    These nods at a past that’s by turns historic and romantically mythic, feed an undercurrent of tension that Boyle builds on, one kill at a time.
  17. Stephanie Daley
    Without standing on a soapbox Stephanie Daley suggests a tragic gender gap between men who judge and women who feel.
  18. Water
    An exquisite film about the institutionalized oppression of an entire class of women and the way patriarchal imperatives inform religious belief.
  19. Marlina the Murderer in Four Acts
    Working with the cinematographer Yunus Pasolang, Ms. Surya gives “Marlina” a stark, steady, captivating look that keeps you largely engaged even when the story and your attention drift.
  20. Italian for Beginners
    Despite its hip, off-center style and pointed de-glamorization of its singles, the movie adds up to little more than feel-good fluff.
  21. Bukowski: Born into This
    Definitive and engrossing documentary.
  22. Monsoon Wedding
    The agile handling of the soap-opera elements -- conventional plotting at best -- finally makes "Wedding" a pop, facile take on Capulet versus Montague stuff, likable but square.
  23. Home of the Brave
    Includes familiar film of marchers on the Edmund Pettus Bridge and of demonstrators in Birmingham being attacked with fire hoses, but it distinguishes itself with touching film of Jim Liuzzo and his children being interviewed and of political leaders of the day.
  24. Searching for Mr. Rugoff
    As someone who grew up going to some of the theaters Rugoff once ran — which included Cinema I and II and the Beekman, among others — I got the warm-and-fuzzies from seeing the love here for moviegoing and exhibition, which he goosed with gonzo showmanship.
  25. High Ground
    Michael Brown (a renowned mountaineer), digs below the adventure itself to reveal the gaping holes in our veteran care. Doing so, he translates a collage of experiences - some desperate, some hopeful, all tragic - into a first-person commentary on the malign reverberations of war.
  26. Louder Than a Bomb
    The efforts to document the teams' creative processes aren't particularly successful - no camera can capture something that elusive - but the filmmakers do a fine job with the back stories of the featured poets.
  27. The Last Race
    Dweck divides his efforts between elegiac tone poem and shaggy-dog ensemble piece.
  28. The Plot Against Harry
    Behind the film's easygoing mood there is firm directorial control. This, together with Mr. Roemer's keen sense of personality and place and his wry humor, accounts for why The Plot Against Harry holds up so well.
  29. I Stand Alone
    The movie's triumph -- if that's what it is -- is in the force of its assault. It takes one man's unbearable truth and bashes us in the skull with it.
  30. The Big Easy
    The screenplay, by Daniel Petrie Jr. and Jack Baran, has a number of funny lines and situations, but the end result looks fiddled with by people attempting to ''fix'' things.
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