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. Remember
    Christopher Plummer puts on a master class in acting, and his director, Atom Egoyan, delivers one in audience manipulation in Remember.
  2. Hyena Road
    Refreshingly free of jingoism, that detachment unfortunately winds up working against the movie, which doesn’t engage emotionally.
  3. Creative Control
    Concocted with heaps of style but only a smattering of substance, Benjamin Dickinson’s sophomore feature, Creative Control, is as brittle and unwelcoming as its characters’ surroundings.
  4. Marguerite
    Marguerite overstays its welcome by at least 20 minutes. What redeems it is Ms. Frot’s subtle, deeply compassionate portrayal of a rich, lonely woman clutching at an impossible dream until reality intrudes.
  5. Me Him Her
    Mr. Landis’s sensibility, which combines sitcom jokiness with mumblecore sentimentality, tends to be more grating than amusing in Me Him Her, though scattered moments will make you laugh.
  6. About Scout
    About Scout is another entry in the “charming road movie” genre, one that banks a little too heavily on charm and not enough on story.
  7. Boom Bust Boom
    A remarkably enjoyable, and sometimes very funny, documentary about a frightening topic.
  8. Lolo
    Many little touches in the film reflect the offbeat hand of Ms. Delpy. But she sells herself short by not giving the mother-son conflict a bit of a sharper edge beyond Lolo’s awfulness.
  9. The Brothers Grimsby
    Mr. Cohen just seems off his game in “Grimsby,” and it may be that the movie’s high concept proved too constricting for someone who has done some of his best work (as in the “Borat” film) with a looser, more episodic format.
  10. 10 Cloverfield Lane
    Sneakily tweaking our fears of terrorism, 10 Cloverfield Lane, though no more than a kissing cousin to its namesake, is smartly chilling and finally spectacular.
  11. Eye in the Sky
    A grim, suspenseful farce in which unpredictable human behavior repeatedly threatens an operation of astounding technological sophistication.
  12. Hello, My Name Is Doris
    Indirection can be a beautiful tool in comedy and so it is in “Hello, My Name Is Doris,” which uses this funny, outwardly ridiculous character to tell a simple story about a love that rarely speaks its name, including in movies: that of an older woman for a much younger man.
  13. City of Gold
    City of Gold transcends its modest methods, largely because it connects Mr. Gold’s appealing personality with a passionate argument about the civic culture of Los Angeles and the place of food within it.
  14. Here Come the Videofreex
    A concise and informative documentary.
  15. White Lies
    Quiet, graceful, stately and infused with slow tension, Dana Rotberg’s White Lies unfolds with inexorable weight.
  16. Road Games
    The cast doesn’t quite succeed in keeping the suspense fresh throughout the story’s left turns.
  17. They Will Have to Kill Us First
    Johanna Schwartz’s miraculously hopeful documentary, They Will Have to Kill Us First: Malian Music in Exile, delivers a vibrant testimony of resilience under oppression.
  18. The Boy and the Beast
    Mr. Hosoda is skilled with fight scenes, and his settings — the pastel-hued Jutengai and the drab Shibuya, evoked at times with surveillance-camera perspectives and crowd-paranoia angles — are impressive. But the characterizations and conflicts here are strictly generic
  19. Cemetery of Splendor
    The mood Mr. Weerasethakul conjures is all the more extraordinary when you consider that the movie’s premise, in the hands of almost any other director, would be used to build some kind of horror movie.
  20. Colliding Dreams
    A swift primer that favors breadth over depth, the movie saves some hopeful notes for the end.
  21. Trapped
    Trapped is not a balanced analysis of the abortion debate; it makes its sympathies clear. But it is a powerful and persuasive rendering of a corner of women’s health care under siege.
  22. The Wave
    The filmmakers (the script is by John Kare Raake and Harald Rosenlow Eeg) cook up the sort of unpleasantness that turns the better disaster pictures, like this one, into nail-biters.
  23. Ava's Possessions
    Though at times pleasingly quirky, the story is too slackly written and insipidly photographed to entertain.
  24. Whiskey Tango Foxtrot
    As written by the TV veteran Robert Carlock, Kim’s rise-and-fade arc is sympathetically rendered, with humor and the urgency of an underhand pitch.
  25. London Has Fallen
    Will this hard-luck president again defy death while his stoic sidekick vanquishes the nasty, uncivilized terrorists? It’s hard to care when a movie is this formulaic and moronic.
  26. Knight of Cups
    In Knight of Cups, as in “To the Wonder,” the deployment of beauty strikes me as more evasive than evocative.
  27. Emelie
    Working from Richard Raymond Harry Herbeck’s script, Mr. Thelin plays with genre clichés without upending them, and the results are more creepy than scary.
  28. Zootopia
    Funny, smart, thought-provoking — and musical, too.
  29. Songs My Brothers Taught Me
    You come at the story, such as it is, as a visitor from the outside world, picking up information as the movie goes along. This approach impedes comprehension, and at moments you may be tempted to sit back and not try to make the pieces fit. For those unwilling to make the effort, Songs My Brothers Taught Me has other rewards.
  30. Virus of Fear
    Ventura Pons’s stagy drama Virus of Fear tries to walk a thin line about its volatile subject — child sexual abuse — as it weighs a man’s possible innocence against a mob’s rage. But its attempts at ambiguity work against it.
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