The New York Times' Scores

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For 20,311 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: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
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  1. Blackhat
    Michael Mann’s thriller Blackhat, a story about the intersection of bodies and machines, is a spectacular work of unhinged moviemaking. By turns brutal and sentimental, lovely and lurid, as serious as the grave and blissfully preposterous, it combines a truckload of plot with many of the obsessions, tropes, sights and sounds that distinguish his other movies.
  2. Big Trouble in Little China
    What matters is the stunts and the spirit, and this latest set of exotic exploits of an indomitable hero (Kurt Russell) and a spunky heroine (Kim Cattrall) gives good value.
  3. Liv & Ingmar
    [A] small, likably sentimental film.
  4. What's in a Name?
    In their intensity, the actors’ incisive, impeccably coordinated performances are pitched slightly above normal conversation but not so much that “What’s in a Name?” shatters credibility.
  5. Let's Get Lost
    Chet Baker's face, and the extraordinary ways in which Bruce Weber has photographed it, encapsulate the story of Baker's life in a succession of ghostly, indelible images that are at once hauntingly beautiful and desperately sad.
  6. Raze
    If you can stand to watch this movie — a big if — there is food for thought here about the subjugation and exploitation of women, the limits of psychological and physical endurance, and more.
  7. Interior. Leather Bar.
    A sly conceptual coup d’art and a deeply sincere exploration of masculinity and its discontents, with a little hot sex thrown in.
  8. The Great Flood
    A striking experiment in music and moviemaking.
  9. Jodorowsky's Dune
    Cheerfully partial and unapologetically deferential to its subject’s operatic self-promotion, Jodorowsky’s Dune makes you wish that he had scraped together the final $5 million needed, we are told, to realize his dream.
  10. Lost River
    Lost River ponders people and places left behind in the name of progress. Slyly political, it observes the mortgage crisis through a warped looking glass. The cinematographer, Benoît Debie, finds a perverse beauty in the decline.
  11. Bethlehem
    Bethlehem is emphatically political, as perhaps any movie about warring Israelis and Palestinians must be. Yet its ideas are more complex than is suggested by either its schematic story or fast-moving genre elements.
  12. Date and Switch
    Like a fresh ripple in the near-stagnant high school movie pool, Chris Nelson’s Date and Switch balances formula with winning performers, genuine humor and a generosity of spirit that this genre too often lacks.
  13. The Homesman
    The Homesman is both a captivating western and a meticulous, devastating feminist critique of the genre.
  14. Song to Song
    There is...much to admire in Song to Song and much to argue with, including its ideas about pleasure and women. So go, fall into its embrace, resist its charms, argue. This may not be a film to love, but it is a film to see.
  15. A Most Wanted Man
    Mr. Hoffman’s performance is so finely etched — and the story so irresistible — that the film becomes, almost inescapably, something of a last testament.
  16. Rosewater
    Mr. Stewart’s interest in the material is obviously personal, but his movie transcends mere self-interest.
  17. Love & Air Sex
    Love & Air Sex has a spontaneity and cheeky attitude... along with spirited naturalistic performances that infuse the standard rom-com formula with a zany vitality.
  18. The Two Faces of January
    There’s a mystery here, some thrills and blood, but mostly there are beautiful people and the kind of human hunger that devours everything and everyone in sight.
  19. The Internet's Own Boy: The Story of Aaron Swartz
    Moving and maddening in almost equal measure, Brian Knappenberger’s The Internet’s Own Boy: The Story of Aaron Swartz is a devastating meditation on what can happen when a prescient thinker challenges corporate interests and the power of the state.
  20. The Skeleton Twins
    The Skeleton Twins is a well-written and acted movie about contemporary life that doesn’t strain for melodrama and is largely devoid of weepy soap opera theatrics. A small, precise, character-driven vignette, it has no pretensions to make any kind of grand statement about The Way We Live Now.
  21. Frank
    Mr. Abrahamson’s main achievement, enabled by the sensitive and resourceful cast, is to find a tone that is funny without flippancy, sincere without turning to mush.
  22. Run & Jump
    Run & Jump is as real and messy as life itself.
  23. Cheap Thrills
    This is dark comedy indeed, and if viewed as such, it works deliciously.
  24. Aatsinki: The Story of Arctic Cowboys
    This challenging and mesmerizing documentary captures horror and joy with the same gorgeous dispassion.
  25. Land Ho!
    At times, Colin and Mitch’s trip to Iceland feels like a lark, for them and for the filmmakers. Yet there’s no denying the deepening effect of a movie in which two older men, with their creases and sags, white and thinning hair, inhabit so much screen time.
  26. Charlie Victor Romeo
    It is a curious hybrid of documentary and experimental theater. It is also one of the most terrifying movies I have ever seen.
  27. Obvious Child
    It’s both funny and serious without trying too hard to be either, and by trying above all to be honest.
  28. Jules and Jim
    To put it quickly and crisply, it is charming, exciting and sad.
    • 65 Metascore
    • 80 Critic Score
    The Jungle Book
    Based loosely on Rudyard Kipling's Mowgli stories, this glowing little picture should be grand fun for all ages.
  30. The Legend of Tarzan
    The Legend of Tarzan has a whole lot of fun, big-screen things going for it — adventure, romance, natural landscapes, digital animals and oceans of rippling handsome man-muscle. Its sweep and easy pleasures come from its old-fashioned escapades — it’s one long dash through the jungle by foot, train, boat and swinging vine — but what makes it more enjoyable than other recycled stories of this type is that the filmmakers have given Tarzan a thoughtful, imperfect makeover.
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