The New York Times' Scores

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For 20,312 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: 9,400 out of 20312
  2. Mixed: 8,446 out of 20312
  3. Negative: 2,466 out of 20312
20312 movie reviews
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  1. I Am Not Your Negro
    Though its principal figure, the novelist, playwright and essayist James Baldwin, is a man who has been dead for nearly 30 years, you would be hard-pressed to find a movie that speaks to the present moment with greater clarity and force, insisting on uncomfortable truths and drawing stark lessons from the shadows of history.
  2. The Comedian
    The director, Taylor Hackford, never makes any of this pop, which isn’t a surprise given the material.
  3. Mr. Gaga
    A more finely focused treatment would have made a much better summation of, or introduction to, Mr. Naharin’s work.
  4. The Lure
    We are not exactly in the present and not precisely in the past, but in a dreamy cinematic space where distinctions of genre and tone are pleasantly (and sometimes shockingly) blurred.
  5. Raees
    Avoiding flabby subplots, Mr. Dholakia keeps Raees taut and suspenseful, even at two and a half hours, though it probably has a song too many
  6. S Is for Stanley
    For Kubrick enthusiasts, this picture will provide a fun and sometimes moving fix.
  7. The Daughter
    The characters don’t have conversations so much as helpfully recite their back stories, and the long-buried secret is soon so obvious that the movie’s last-act hysteria feels forced and a little ridiculous.
  8. The Age of Consequences
    The information here is compelling and frightening, but the movie is ham-handed.
  9. Midsummer in Newtown
    Some tragedies defy conventional representation. Unlike the play it documents, this documentary shows few signs of thinking outside the box.
  10. Kung Fu Yoga
    A lively closing dance sequence, after an earnest, underwhelming climax, pays affectionate tribute to Bollywood production numbers. But you won’t find Mr. Chan’s customary bloopers over the closing credits.
  11. Resident Evil: The Final Chapter
    The movie percolates enough that even when, at its climax, it shamelessly recycles a grisly punch line from 1987’s “RoboCop,” it’s kind of endearing, not least because Mr. Anderson and company make it work.
  12. Paris 05:59: Théo & Hugo
    Light on plot yet heavy on chemistry, Paris 05:59 is at times a little precious. But the two leads are so believably besotted that their occasional immaturity doesn’t rankle.
  13. I Am Michael
    While intellectually laudable, Mr. Kelly’s determined objectivity is so distancing that it takes an inherently intriguing story (based on a 2011 article in The New York Times Magazine) and sucks the life out of it.
  14. Behemoth
    Behemoth proceeds placidly, making it easy to become lulled. Its haunting power grows in retrospect — as if you’ve returned from a journey and can’t believe what you’ve seen.
  15. The Salesman
    With exquisite patience and attention to detail, Asghar Farhadi, the writer and director, builds a solid and suspenseful plot out of ordinary incidents, and packs it with rich and resonant ideas.
  16. Lost in Florence
    The story may not stay with you, but don’t be surprised if you come away with a strong desire to visit Florence.
  17. Gold
    [McConaughey's] wild, abrasive and improbably delicate performance is what makes Gold watchable, even if the rest of the movie doesn’t supply sufficient reason to keep watching.
  18. A Dog's Purpose
    You don’t need an animal-rights group’s boycott to give you permission to avoid A Dog’s Purpose. You can skip it just because it’s clumsily manipulative dreck.
  19. The Founder
    Ray remains an unanswered, not especially compelling, question, but Mr. Keaton comes close to making you believe there’s soul to go with the fries and freneticism.
  20. The Sunshine Makers
    Whether together or apart, Mr. Sand and Mr. Scully seemed to be operating on a similar wavelength, and the movie gets a lot of mileage from their sometimes excellent, at times hair-raising, occasionally puckishly funny and altogether wild adventures.
  21. Staying Vertical
    Something about the strangeness of the people and the harsh indifference of the nature that surrounds them feels real, even if realism in the conventional sense may be the last thing on the filmmaker’s mind.
  22. The Red Turtle
    The Red Turtle practices a minor, gentle magic. It wants you to smile and say, “Ahh,” rather than gasp and say, “Wow.” But somehow the understatement can feel a bit overdone, as if the film were hovering over you, awaiting an expression of admiration.
  23. Split
    Split is lurid and ludicrous, and sometimes more than a little icky in its prurient, maudlin interest in the abuse of children. It’s also absorbing and sometimes slyly funny.
  24. Antarctica: Ice and Sky
    The movie is both heady (there are real thrills in the stories of exploration) and sobering (Mr. Lorius’s findings are convincing). This is a cogent, accessible cinematic delineation of an increasingly crucial problem.
  25. My Father Die
    Bathed in a funk of testosterone, and heaving with homophobia and misogyny, My Father Die is a trashy jewel.
  26. Saving Banksy
    [A] fascinating documentary.
  27. Starless Dreams
    If Starless Dreams inspires conflicted feelings in viewers, it may be by design. It’s hard not to want to flee, and it’s hard to look away.
  28. They Call Us Monsters
    They Call Us Monsters doesn’t shy from the consequences of the violence the prisoners were accused of (we meet a paralyzed victim of a shooting), even as it suggests that the system...proceeds almost mechanically.
  29. We Are the Flesh
    We Are the Flesh, its abundance of repellent imagery notwithstanding, has an air of the academic about it.
  30. Trespass Against Us
    Though thematically vague, thinly plotted and without a reliably sympathetic soul to cling to, the movie has a mutinous energy and an absurd, knockabout charm.
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