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. It
    The filmmakers honor both the pastoral and the infernal dimensions of Mr. King’s distinctive literary vision.
  2. White Sun
    It shows how the lingering disputes of war ripple through lives after guns have ostensibly been laid down.
  3. Tulip Fever
    It’s neither a secret masterpiece nor a laughable disaster.
  4. Free in Deed
    Each time the movie edges into mannerism Mr. Harewood and Ms. Dickerson pull you close enough to make it hurt.
  5. Do It Like An Hombre
    The movie flouts its intolerance in an attempt at provocative humor. Unless you laugh at fossils, I have no idea why you should buy a ticket to gawk at this dinosaur.
  6. Dolores
    Peter Bratt, the director, uses an immense amount of historical footage and interviews, arranged with clarity.
  7. Kill Me Please
    Like the teenage girls who monopolize its attention, Kill Me Please is moody, lovely, preening and libidinous.
  8. Unlocked
    I suppose this went down easily enough for me because I grew up with this kind of stuff, and can surrender to it as a kind of cinematic comfort food. But still. For those not so inclined, the entertainment value could conceivably be derived from the brisk, no-nonsense direction by Michael Apted, and the talents of what they used to call “an all-star cast”.
  9. Jesús
    One feels the filmmaker trying hard to work out the inner struggles of his sad but largely unsympathetic characters. But his movie is as miserable and ultimately confounding as it is earnest.
  10. Viceroy's House
    The film carries a trace of the sweep of a great screen epic along with the straightforward, explanatory qualities of mass-audience TV, and is never less than absorbing.
  11. The Layover
    The movie’s notion of fun comes to involve an unclean rest stop, slipped pills and an eminently foreseeable conclusion.
  12. I Do... Until I Don't
    A movie that has neither a coherent point nor an authentic character.
  13. The Teacher
    Ms. Maurery has great fun with the character, a tricky part because Maria nearly always maintains a kindhearted veneer, even at her most venal.
  14. Birth of the Dragon
    Birth of the Dragon is ambitious: it wants to be a character study, an explication of martial arts philosophy and an action picture.... But the film never really gets fully juiced until the climax.
  15. The Villainess
    It’s hard to enjoy the action when you witness its emotional cost, but once Sook-hee starts slashing goons from atop motorcycles, it’s equally impossible to root for the violence to stop.
  16. Beach Rats
    The back-and-forths of the character’s decisions feel real, and Mr. Dickinson’s laconic blankness (you would never guess the actor was British) helps to give the character’s existential crisis a charge. Ms. Hittman is also assured enough to know it can’t be easily resolved.
  17. Bushwick
    The filmmakers feign boldness in tackling national politics, but revert to coyness and caricature when it comes to local matters, gesturing toward a multiculturalism that isn’t even skin deep and sweeping gentrification under the rug.
  18. Tales of an Immoral Couple
    A sweet and affecting story, one that forgoes the awkward moments of teenage romance and offers the possibility of reliving a bit of our youthful amor — if just for the film’s 90-minute running time.
  19. England Is Mine
    With its bleak, yearning tone and defiantly cloudy color palette, “England Is Mine” has a pleasingly granular feel for its era and location. But its imagining of Morrissey as a self-pitying narcissist, a curiously passive intellectual who can’t get out of his own way, soaks the movie in a wearying inertia.
  20. Gook
    The film isn’t perfect — Mr. Chon’s wild camera motions seem more undisciplined than electric — but it does find an angle on the riots that hasn’t been seen much onscreen.
  21. Death Note
    Perhaps stifled by the cultural and commercial clout of its source material (a multimedia juggernaut of books, movies, television shows and a stage musical), Death Note feels rushed and constricted.
  22. Lemon
    Reviewing Lemon feels like taking a sucker’s bet, treating the film with a reverence it never even asks for.
  23. Leap!
    Leap! remains peppy as it sets its bar at a low-to-medium height then cheerfully clears it.
  24. Polina
    If this film’s directors, Valérie Müller and the French choreographer Angelin Preljocaj, don’t offer much overt material on Polina’s inner life, it’s because they don’t have to: the point of Polina, and this movie, is that her dancing is her being.
  25. Clash
    Clash turns into a full-fledged horror movie, albeit one without the fake comfort of a supernatural or science-fiction pretext. It’s just man’s inhumanity to man, in full sway.
  26. Crown Heights
    Like its protagonist, sensitively and shrewdly played by Lakeith Stanfield, the film is soft-spoken and thoughtful, with sweet, lyrical touches that alleviate some of the grimness without blunting the cruelty and injustice of what happened.
  27. Whitney: Can I Be Me
    A surprisingly conventional, dutifully respectful behind-the-scenes portrait of Whitney Houston’s rise and struggles with fame and drugs before her death at 48.
  28. Walk with Me
    Sometimes dreamy but mostly dissatisfying, “Walk With Me” offers no clarity for the curious. We can enjoy the meditative mood, but understanding its underpinnings would require more than this idyll of silence and stillness provides.
  29. Sidemen: Long Road to Glory
    “Sidemen” is about more than just legacy. Blessed with extensive interviews with their buoyant subjects (all three of whom died in 2011 within months of one another), Mr. Rosenbaum and his producer Jasin Cadic shape a narrative of professional insecurity and personal resilience.
  30. Shot Caller
    Shot Caller effectively conveys the vise grip of Jacob’s options, but that doesn’t make it less ludicrous from scene to scene.
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