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. The Himalayas
    It finds a few moments of sweep and suspense in between grand speeches and reprises of a swollen score.
  2. Only Yesterday (1991)
    Mr. Takahata’s psychologically acute film, which was based on a manga, seems to grow in impact, too, as the adult Takao comes to a richer understanding of what she wants and how she wants to live.
  3. Yosemite
    Ms. Demeestere’s direction winds up frustratingly splitting the difference between thoughtfully detached and just plain vague.
  4. Anomalisa
    Mr. Kaufman’s gift for quotidian horror remains startling; he’s a whiz at minor miseries.
  5. Point Break
    Nowhere does Mr. Core’s film approach the action-movie chops or psychological smarts of Ms. Bigelow’s original or, truth be told, benefit from actors displaying the same charm as her stars. But for a number of liberating airborne seconds, none of that may matter.
  6. Mr. Six
    The baggy 137-minute story drowns out Mr. Feng’s assorted sharp moments with hoary family drama and clumsy plotting, and Li Yifeng is generic as Mr. Six’s son.
  7. Daddy's Home
    Daddy’s Home is an ugly psychological cockfight posing as a family-friendly comedy. Laugh-free — except for some farcical, life-threatening stunts at the expense of Will Ferrell’s character, Brad — it is best avoided unless a movie that has the attitude and mind-set of a schoolyard bully happens to be your thing.
  8. Concussion
    While Concussion has some fine things going for it, notably science and Will Smith, it lacks the exciting, committed filmmaking that rises to the level of its outrageous topic.
  9. Joy
    The movie, in all its mess and glory, belongs almost entirely to Ms. Lawrence. She is the kind of movie star who turns everyone else into a character actor. This is not a complaint but an acknowledgment of both her charisma and her generosity.
  10. The Revenant
    Mr. Iñárritu isn’t content to merely seduce you with ecstatic beauty and annihilating terror; he wants to blow your mind, to amp up your art-house experience with blockbusterlike awesomeness.
  11. The Hateful Eight
    Maybe I’m repeating myself: The Hateful Eight is a Quentin Tarantino movie. But Mr. Tarantino is also repeating himself, spinning his wheels here in a way he has rarely done before. None of his other films venture so far into tedium or manage to get in their own way so frequently.
  12. Where to Invade Next
    Where to Invade Next is a sprawling, didactic polemic wittily disguised as a European travelogue.
  13. 45 Years
    [A] sensitive and devastating portrait of a long, happy marriage in sudden crisis.
  14. Bajirao Mastani
    There’s plenty of story here, but Bajirao Mastani has more visual pop than narrative traction.
  15. The Genital Warriors
    The movie touches on some worthy topics — sex, age, ego, desire, reason, insanity, death — but never focuses long on any of them: Some bits are amusing, most are simply tedious.
  16. Mojin: The Lost Legend
    What starts eerie becomes strictly cartoonish.
  17. Those Who Feel the Fire Burning
    The immersive style is always fascinating. But it also seems uneasily suited to the material.
  18. Noma: My Perfect Storm
    Less a documentary than a glittering souvenir, but it’s still a record of a legend.
  19. He Never Died
    The humor in Mr. Krawczyk’s script is deliciously subtle, as it has to be when your lead character is a man of few words; a viewer might easily spend the first half of the movie not even realizing it’s there.
  20. Alvin and the Chipmunks: The Road Chip
    The film delivers the standard upbeat message about family, along with one particularly outstanding and incongruous cameo that — sorry — won’t be spoiled here.
  21. Son of Saul
    Mr. Nemes orchestrates a tour de force of suspense, a swift symphony of collisions, coincidences and reversals that is almost unbearably exciting. His skill is undeniable, but also troubling. The movie offers less insight than sensation, an emotional experience that sits too comfortably within the norms of entertainment. This is not entirely the director’s fault. The Holocaust, once forbidden territory, is now safe and familiar ground.
  22. Sisters
    Sisters is both too careful and too sloppy to take full advantage of the thornier implications of its premise. It’s too awkward — because scenes drag when they should swing and jokes sag when they should pop — and not awkward enough.
  23. The Creation of Meaning
    Cutaways to nature’s splendor abound: Mists enfold the mountain; Mr. Casanova mesmerizingly holds one cross-fade from these clouds.
  24. The Winding Stream
    Rhythmically blending vintage recordings and live performances, The Winding Stream exudes a quirky warmth that counters its PBS-pledge-drive aura.
  25. The Emperor's New Clothes
    The Emperor’s New Clothes is moderately effective agitprop.
  26. Dreams Rewired
    Dreams Rewired is mostly content to entertain. Its explanations of how new inventions work are simplified to the point of superficiality.
  27. Star Wars: Episode VII - The Force Awakens
    Mr. Abrams may be as worshipful as any Star Wars obsessive, but in The Force Awakens he’s made a movie that goes for old-fashioned escapism even as it presents a futuristic vision of a pluralistic world that his audience already lives in. He hasn’t made a film only for true believers; he has made a film for everyone (well, almost).
  28. Sunday Ball
    Captured more for poetry than for clarity, the topography of penalties and free kicks can be impossible to follow. But Léo Bittencourt’s photography has flash and flair, and hardscrabble determination on a real-life field of dreams has a narrative all its own.
  29. The Tainted Veil
    The subject matter makes The Tainted Veil much more visually interesting than many issue-oriented documentaries, though the thriller-like score goes too far in trying to counter dryness.
  30. Dixieland
    This is well-worn territory, and though the two leads are very good, the romance that is supposed to drive the story isn’t particularly well delineated.
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