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. Zoolander 2
    Zoolander 2 has enough plots for several movies. They are so jammed together that they more or less cancel each other out.
  2. Deadpool
    It’s no surprise that the teams hired to bring a property like Deadpool to the screen know how to keep the machine oiled and humming; it’s the ones who somehow manage to temporarily stick a wrench in the works, adding something human — a feeling instead of another quip — who are worth your attention.
  3. Regression
    The movie is ultimately a tepid and frustrating experience.
  4. Fort Buchanan
    If, at barely more than an hour, the movie initially seems slight, its inconsequentiality might be better viewed as polemical.
  5. The Pack
    A dreary Australian movie, directed by Nick Robertson, that has more dogs than “Cujo” but noticeably less plot.
  6. Tumbledown
    We’re meant to warm to Hannah and Andrew as they wear each other down with good-natured ribbing. But Ms. Hall and Mr. Sudeikis hardly warm up themselves, showing little chemistry and looking unsure how to play the film’s tone, or the would-be zingers.
  7. Southbound
    These are fragments more than complete stories, and the incompleteness is its own kind of creepiness.
  8. The Club
    There is power in this vision, but it can also feel forced, almost mechanical.
  9. Misconduct
    This clumsy, poorly written action thriller is such a complete catastrophe that you wonder how actors with the stature of Mr. Hopkins and Mr. Pacino were bamboozled into appearing in it.
  10. Eisenstein in Guanajuato
    Beyond the arty trappings and flamboyant showmanship that are typical of Mr. Greenaway, 73, Eisenstein in Guanajuato is a brazen provocation.
  11. 4th Man Out
    The director, Andrew Nackman, in making a super-mainstream film, leans so far toward the feel-good end of the spectrum that he forgoes the opportunity to make something that is more real, more fraught, more complex.
  12. Pride and Prejudice and Zombies
    The story’s lone joke and its grinding literalness grow dull.
  13. The Choice
    Directed by Ross Katz and filmed like an ad for erectile-dysfunction medication, The Choice is almost repellently synthetic.
  14. Hail, Caesar!
    It’s a typically sly, off-center comedy, once again set against the machinery of the motion-picture business. And, as usual with the Coens, it has more going on than there might seem, including in its wrangling over God and ideology, art and entertainment.
  15. Rams
    Despite its affection for the quirks of its characters and their milieu, the film is most memorable for its gravity, for the almost tragic nobility it finds in sad and silly circumstances.
  16. Saala Khadoos
    Ms. Kongara seems to know the clichés of fighter movies and is mostly unembarrassed to embrace them. That keeps the film humming along, as does Mr. Madhavan, who grows in stature along with Adi.
  17. Fifty Shades of Black
    As with other staples of the screen-parody genre, the comic bull’s-eyes arrive only intermittently.
  18. Jane Got a Gun
    Whatever feminist angle the film might have once aspired to is lost in its listless shuffle.
  19. Requiem for the American Dream
    [A] well-paced and cogent seminar.
  20. JeruZalem
    The more desperate the characters’ flight becomes, the less interesting the movie grows. It does end with a witty flourish, though — one that makes good use of those glasses.
  21. Mountain Men
    Catherine Lutes’s camera catches magnificent views of Revelstoke, British Columbia, that are worth watching as you wait 18 minutes for the next semi-interesting scene.
  22. Lazer Team
    Lazer Team ends by setting itself up for a sequel, but that’s mighty wishful thinking. There’s not a big demand for laugh-free comedies.
  23. Rabin, the Last Day
    Rabin, the Last Day is not interesting in spite of its flaws as a film. It’s interesting because of them, because of Mr. Gitai’s refusal or inability to clarify or even coherently narrate the history he addresses.
  24. Kung Fu Panda 3
    Lots of comedic fight scenes break up the story’s more somber stretches, and the animation, especially in 3-D, is simply gorgeous.
  25. The Finest Hours
    The Finest Hours is a moderately gripping whoosh of nostalgia that shamelessly recycles the ’50s cliché of the squeaky-clean all-American hero.
  26. Exposed
    In certain mutilated pictures, you can detect the lineaments of greatness: Consider Orson Welles’s “The Magnificent Ambersons.” Here, that’s not the case.
  27. Dirty Grandpa
    The screenplay, by John M. Phillips, is the written equivalent of a toddler discovering curse words. Yet some riffs draw chuckles.
  28. The Boy
    It still has enough scary moments to satisfy horror fans, but you’re left wondering whether it might have been more disturbing had it stayed on its original path.
  29. Synchronicity
    The combustible Mr. Ironside vaulted into movie immortality as the antagonist in “Scanners,” David Cronenberg’s down-and-dirty, exploding-head anti-classic. Synchronicity, a low-budget misfire about time and love, could use some exploding heads, dialogue and ideas.
  30. Rabid Dogs
    If you can endure the messy slaughter, with a body count in double digits, the plot is not without its rewards.
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