The New York Times' Scores

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For 20,323 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: 9,408 out of 20323
  2. Mixed: 8,448 out of 20323
  3. Negative: 2,467 out of 20323
20323 movie reviews
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  1. A Family Affair
    By the jaw-dropping climax (an argument over a family portrait), and the film’s not-entirely unpredictable denouement, you aren’t sure whether you are witnessing an investigative family chronicle or an act of revenge.
  2. The Beatles: Eight Days a Week - The Touring Years
    The way to watch is to ignore the image burnishing and just feel the moment.
  3. The Vessel
    The Vessel is a modest, but not maudlin, parable of hope about mustering the strength to vigorously plunge again into life’s uncertainties after a devastating loss.
  4. Miss Stevens
    Ms. Rabe’s beautifully balanced performance reminds you that people never really grow up.
  5. Operation Avalanche
    There’s a headlong temerity to Mr. Johnson’s style that places the dippy thrill of moviemaking front and center, revealing a director (and a character) so high on his power to misrepresent reality that a future in politics seems all but assured.
  6. Cardboard Boxer
    Mr. Church fully inhabits the character, making the most of Willie’s dented moral sense and his many limitations. But the film constructs some too-perfect solutions to problems and manipulates our emotions.
  7. Blair Witch
    The acting and filmmaking are too crude to make you care about what happens to any of them, even though you know pretty much exactly what that will be.
  8. Snowden
    Mr. Stone has made an honorable and absorbing contribution to the imaginative record of our confusing times. He tells a story torn from slightly faded headlines, filling in some details you may have forgotten, and discreetly embellishing the record in the service of drama and suspense.
  9. Bridget Jones's Baby
    Despite an abundance of mostly tepid jokes that keeps the comedic tone at a quiet simmer, Bridget Jones’s Baby doesn’t jell. Ms. Zellweger floats through the picture, charming but strangely detached from her suitors.
  10. Command and Control
    The film effectively recreates the sense of confusion over how to try to contain the leak and what might happen if the fuel ignited.
  11. When the Bough Breaks
    There’s not an ounce of suspense in any of this, because you’ve seen it all before, and the director, Jon Cassar, seems uninterested in veering from the well-established formula.
  12. The Apostate
    The Uruguayan director Federico Veiroj’s leisurely comedy-drama The Apostate has its charms, though the story (and its hero) could benefit from a tarter approach.
  13. Landfill Harmonic
    The story behind “Landfill Harmonic” is so good that even some imperfect filmmaking can’t hold it back.
  14. Defying the Nazis: The Sharps' War
    Defying the Nazis: The Sharps’ War is a generic documentary about two people who were anything but. Yet even when the film wanes, its subjects still come across as remarkable.
  15. Come What May
    The depredations of the Nazis are depicted in a way that will make viewers want to declare war on Germany anew. But Come What May is also too pretty of a movie. It is often sentimental and, worse, schematic.
  16. Starving the Beast
    As an overview of the issues, the history and the players, Starving the Beast makes a powerful survey course, a prerequisite for further studies.
  17. The Wild Life
    The Wild Life is pretty to look at, with its skies and ocean, calm or stormy, and it has a driving soundtrack. But the story lacks that extra layer of complexity and meaning that parents can appreciate.
  18. London Road
    The artifice of the form works something wondrous with the material, highlighting the generic nature of our response to extreme violence.
  19. For the Love of Spock
    This film nimbly straddles biography and “Trek” valentine (Adam is a longtime television director), but also recounts the fraught if ultimately devoted ties between Adam and Leonard.
  20. Ithaca
    Ms. Ryan’s muted approach may be what we’ve come to expect of looks back at this period — nostalgia always comes with a lot of browns and grays, and with plenty of voice-over (in this case, Marcus’s letters to Homer). But she executes the formula well.
  21. Cameraperson
    Cameraperson isn’t a work of journalism or advocacy. It’s a scrapbook, a found poem assembled out of scraps and snippets of truth. And it is, above all, an act of showing rather than telling.
  22. Author: The JT LeRoy Story
    "Author” is most interesting — and least self-aware — as a study in the gullibility and narcissism of the celebrity class.
  23. As I Open My Eyes
    As I Open My Eyes is best when it observes the fraught but loving mother-daughter relationship between Hayet and Farah.
  24. Kicks
    The characters have enough dimension to avoid appearing to be symbols of a social tragedy, and the movie’s relative gentleness makes the harsher realities of Brandon’s world all the more distressing.
  25. Other People
    Other People tries to lighten its heavy load with mixed results.
  26. Brother Nature
    Every new generation has to learn the lesson: Comedy success on the small screen doesn’t guarantee the same on the big screen. If anything, it guarantees the opposite.
  27. Demon
    Mr. Wrona is very good at thickening the air with mystery, and right from the start he slips in enigmatic details and figures — the prowling bulldozer, a keening woman, a scowling man — that disturb the ordinary scene. Like pebbles dropped in water, these disturbances create concentric circles that spread, disrupting everything.
  28. Transpecos
    Though rife with implausibilities, Transpecos is fortified by strong acting and a location whose desolate beauty is a gift to Jeffrey Waldron’s serene camera.
  29. Sully
    The movie is economical and solid, and generally low-key when it’s not freaking you out. That it unnerves you as much as it does may seem surprising, given that going in, we know how this story ends. But Mr. Eastwood is also very good at his job, a talent that gives the movie its tension along with an autobiographical sheen.
  30. The 9th Life of Louis Drax
    It’s not clear whether The 9th Life of Louis Drax is deliberately inconsistent or merely an example of confused filmmaking. One thing is certain, however: It sure leaves an unpleasant aftertaste.
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