The New York Times' Scores

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For 20,324 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 20324
  2. Mixed: 8,449 out of 20324
  3. Negative: 2,467 out of 20324
20324 movie reviews
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  1. Furious 7
    There will no doubt be better movies released in 2015, but Furious 7 is an early favorite to win the prize for most picture.
  2. The Patience Stone
    Mr. Rahimi opens up an entire world inside the couple’s modest house, filling its few rooms with enough air, sharp words and slow-boiling intrigue that the walls never feel as if they’re closing in on you.
  3. Bidder 70
    Wisely deciding to refrain from rapping our knuckles with greenhouse gas statistics and Al Gore-style pie charts, the filmmakers fashion a portrait of a conscience spurred to action by an unexpected opportunity.
  4. Passion
    Passion is often sleek and enjoyable, dispensing titillation, suspense and a few laughs without taking itself too seriously.
  5. Cockneys vs Zombies
    As subtle as its title, Cockneys vs. Zombies is mildly funny and easily likable.
  6. Fury
    Within this gore-spattered, superficially nihilistic carapace is an old-fashioned platoon picture, a sensitive and superbly acted tale of male bonding under duress.
  7. Wuss
    Mr. Liford (yet another emergent indie filmmaker from Texas) can clearly write a script, handle a camera and construct a mood. Wuss may be slight, but Mr. Liford’s sense of pitch is spot on.
  8. Nymphomaniac: Volume I
    You’re unlikely to turn away. The problem with aesthetic shocks is that their power can drain off and their original effects become harder to replicate, so we’ll just have to see what happens next.
  9. Deliver Us From Evil
    Scott Derrickson, the director, and his special-effects crew really deliver the creepy goods here, providing an apt climax for as taut and credible a movie involving demonic possession as you’re likely to see.
  10. The Painting (Le Tableau)
    This is a sweet adventure story for children. (Surely, American parents can deal with the bare breasts of one talking painting.) For adults it is short on narrative sophistication but visually a true objet d’art.
  11. Berberian Sound Studio
    It’s not unlike many of Mr. Strickland’s beloved Italian films, which could be superb exercises in cinematic style and atmosphere while remaining imperfect.
  12. This Is Martin Bonner
    It’s gratifying to see the care taken with his characters, though it would be no betrayal of them for Mr. Hartigan to flesh out their world and their lives further.
  13. More Than Honey
    A fascinating but rambling documentary.
  14. Storm Surfers 3D
    The vistas are spectacular, the waves fearsome, the filming often amazing.
  15. Israel: A Home Movie
    These mostly silent home movies often have the tug of nostalgia, especially those that show domestic life... But images can be slippery, showing something different from what their creators intended. Even as Mr. Lilti constructs a history...he seems to show its fissures.
  16. Lone Survivor
    It is a modest, competent, effective movie, concerned above all with doing the job of explaining how the job was done.
  17. Old Dog
    Raw and resolute, this unsettling fable feels driven by an anger that remains largely unexpressed.
  18. Aurangzeb
    The plot of Aurangzeb is inevitably too complicated, and the themes presented more interestingly than they are wrapped up. But for much of the nearly two-and-a-half-hour running time, it ably weaves Bollywood tropes...with contemporary outrage at the rules of the game.
  19. Like Father, Like Son
    Mr. Hirokazu never overly explains his stories through the dialogue, preferring to tease out their meaning visually.
  20. As I Lay Dying
    In rushing in where wise men might fear to tread, Mr. Franco has accomplished something serious and worthwhile. His As I Lay Dying is certainly ambitious, but it is also admirably modest.
  21. Jimmy P.
    This is a calm film about strong emotions, but it does find a reservoir of intensity in the two central performances, in particular Mr. Del Toro’s.
  22. The Selfish Giant
    Intent on showing that Arbor and Swifty live in a world of radically limited possibilities, barely sustained by their families and failed by the state, Ms. Barnard locks them into a narrative prison. Their fates seem predetermined less by their circumstances than by the iron will and limited imagination of their creator.
  23. The History of Future Folk
    It may not make much sense in a brief plot summary, but it makes perfect, daffy sense on the screen.
  24. Non-Stop
    Non-Stop doesn’t make any sense, but that’s expected, uninteresting and incidental to the pleasures of a slow-season Liam Neeson release as diverting as this one.
  25. Free Samples
    Free Samples is a modest but pleasant small-budget movie with two bits of laziness in the script, but one particularly sweet performance that makes up for them.
  26. Big Star: Nothing Can Hurt Me
    A deserved tribute that puts us inside the music, and the head space, of a great, lost band.
  27. The Prey
    It doesn’t aspire to art-house significance, just to white-knuckled entertainment.
  28. Wish You Were Here
    Wish You Were Here has a quaint, inviting period look - the year is 1951, the setting a British coastal village - and a cast that's well attuned to Mr. Leland's brand of cleverness.
  29. Career Girls
    There is the sense that Mr. Leigh, whose unusual collaborative method with actors is an essential facet of his writing and direction, is too willing to confuse tics with truth. Indeed, this time the actors' solipsism is more apparent.
  30. The Last of the Mohicans
    Drawing upon the novel with merciful selectivity, and adding such a contemporary flavor that the film's woodsmen often have a laid-back air, Michael Mann has directed a sultrier and more pointedly responsible version of this story.
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