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. Louder Than Bombs
    It is possible to admire the craft and sensitivity of Louder Than Bombs without quite believing it. The characters are so carefully drawn that they can feel smaller than life, and the dramatic space they inhabit has a curiously abstract feeling.
  2. Neon Bull
    Neon Bull is a profound reflection on the intersection of the human and bestial.
  3. Look at Us Now, Mother!
    For a movie that promises an “epic journey” to explore a family’s “long-buried suffering,” it’s strangely unsatisfying, and eventually wearisome, to find that this clan is deeply troubled perhaps only in the eyes of its filmmaker.
  4. High Strung
    The dialogue may be dire, but the dancing is delightful.
  5. One More Time
    This is a story full of people being miserable, humorless and selfish, despite having been given a lot in life, and they’re pretty much the same at the end of it as they were at the beginning.
  6. Hardcore Henry
    Its dour eccentricity gives Hardcore Henry a potency above and beyond that of standard-issue show-off action fare. That doesn’t mean it’s not still obnoxious, though.
  7. The Boss
    The movie is funny without being much good; mostly, it’s another rung on Ms. McCarthy’s big ladder up. It’s a fitful amalgam of bouncy and slack laughs mixed in with some blasts of pure physical comedy and loads of yammering heads. There isn’t much filmmaking in it, outside of Ms. McCarthy’s precision comedic timing and natural screen presence.
  8. Vita Activa: The Spirit of Hannah Arendt
    Ms. Ushpiz is determined to rescue her subject from the banality of biography. The details of Arendt’s childhood, education, romantic life and professional activity are not ignored, but they nearly always illuminate her ideas.
  9. H.
    A clever film written and directed by Rania Attieh and Daniel Garcia, H. keeps the viewer watchful, waiting for it to splatter into a familiar horror plot or spin off into an alien abduction.
  10. Marinoni: The Fire in the Frame
    A chronicle of obsession ought to provide some insights.
  11. Darling
    Mickey Keating’s horror outing Darling manages to conjure an effectively unsettling miasma.
  12. The Girl in the Photographs
    This sad slasher is as lacking in scares as in ideas.
  13. Too Late
    Mr. Hauck’s affection is apparent in every frame, yet outside of an occasionally clunky line or show-offy moment (O.K., sometimes it’s more occasional than just occasionally), he rarely allows it to alter his aim. That aim is to make a modern noir. That aim is true.
  14. Notfilm
    A charming, earnest, sometimes ungainly mixture of history, criticism and high-minded gossip, Notfilm testifies to an almost inexhaustible fascination with the pleasures and paradoxes of cinema.
  15. Standing Tall
    Mr. Paradot’s performance is so viscerally intense that there is no escaping its force.
  16. The Flight Fantastic
    Is the film a bit self-promotional? Sure, but it’s enjoyable nonetheless.
  17. Catching the Sun
    One notion underlying Shalini Kantayya’s winning documentary, Catching the Sun, is that solar power is not only a cleaner alternative to fossil fuels but can also effectively curtail unemployment.
  18. Kill Your Friends
    A richly satisfying poison-pen letter to the music industry.
  19. Afternoon
    Obviously, this is not a film for viewers unfamiliar with Mr. Tsai’s work. But its insistently austere format does suggest a purpose beyond its immediate context.
  20. Miles Ahead
    Does it matter that stretches of Miles Ahead — a gun-rattling, squealing-tire car chase included — came out of the filmmakers’ imagination rather than Davis’s life? (Mr. Cheadle shares script credit with Steven Baigelman.) Purists may howl, but they’ll also miss the pleasure and point of this playfully impressionistic movie.
  21. Francofonia
    It’s a work of art that troubles the conscience, in part because it suggests, both by default and by design, that no art is innocent, and that its preservation, like its destruction, depends on the operation of power.
  22. The Dark Horse
    The movie partly resists the temptation to follow a predictable feel-good route to a fairy-tale ending. That said, it has enough conveniently timed little triumphs to send up warning signs.
  23. No Home Movie
    If you let it, No Home Movie invites you in first with its intimacy and then its deep feeling.
  24. Sex and Broadcasting
    Professionally comfortable with improvising, the D.J.s make for affable company, and it’s amusing to watch radio from behind the scenes. But a tinge of melancholy also hovers over the movie.
  25. I Don't Belong Anywhere: The Cinema of Chantal Akerman
    Ms. Lambert’s film builds nicely, staying in tune with the ordinariness and intimacy explored in Ms. Akerman’s boldly rendered films.
  26. Everybody Wants Some!!
    Everybody Wants Some!! is more than just nostalgic. It’s downright utopian, a hormonal pastoral endowed with the innocent charm of a children’s book. There are plenty of movies about lust-addled youth, but it’s unusual to find one that feels truly wholesome.
  27. Baskin
    This proudly derivative genre exercise will not be to every taste (or stomach), but the director, Can Evrenol, shows a certain knack for tension and for framing viscera in wide screen, even if his cutting is sometimes too quick.
  28. Valley of Love
    This movie is finally only about Isabelle Huppert and Gérard Depardieu, and that’s enough.
  29. I Saw the Light
    Part of what defeats Mr. Abraham and may help explain why Mr. Hiddleston’s performance, however appealing, never gets below the surface, is that Williams is one of those artists whose eloquence is expressed through his work.
  30. April and the Extraordinary World
    Influences aside, the movie so teems with delightful detail and has such an exuberant sense of play that it feels entirely fresh.
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