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 Looking Glass
    The fact that the film’s most resonant and likable portions are those in which nothing actually happens almost too nicely encapsulates why The Looking Glass falls sadly flat throughout much of its running time.
  2. Difret
    Shot in sunny locales, Difret has an earnestness that hovers between plain-spoken and pedestrian, and there are scenes and sequences that just don’t come together as written and edited, no matter how admirable the film’s existence is.
  3. Nasty Baby
    Mr. Silva’s accomplishment is not just in pulling off a jarring plot twist, but in handling a change of tone that turns the movie — and the audience’s assumptions about it — upside down.
  4. Extraordinary Tales
    Harnessing a range of appropriately spooky-oddball narrators and striking visual styles — including graphic novels, early photography and Expressionist painting — the Spanish director and animator Raul Garcia simultaneously honors and reimagines.
  5. I Smile Back
    Sarah Silverman burns through the indie drama “I Smile Back” without making the slightest move to gain our sympathy.
  6. Bone Tomahawk
    Mr. Russell is far from the only reason to see this unexpected low-budget treat, a witty fusion of western, horror and comedy that gallops to its own beat. That rhythm is dictated entirely by the writer and director, S. Craig Zahler, a novelist and musician who flips genre conventions upside-down and cares more about character than body count.
  7. Tokyo Tribe
    "The Warriors” and the “Mad Max” films will come to mind as you watch Tokyo Tribe, and from scene to scene Mr. Sono’s visual inventiveness and sure hand with action stand up to the comparison. The cumulative effect, however, is numbing.
  8. Rock the Kasbah
    Clichéd, enervating, insulting — it’s tough to settle on a single pejorative for Rock the Kasbah, though abysmal might do.
  9. Jem and the Holograms
    There are a few sweet moments early in Jem and the Holograms.... But then the movie’s lumbering, overstuffed, unfocused plot shows up, and whatever high hopes we might have had for this latest exploitation of 1980s nostalgia are slowly ground away.
  10. The Last Witch Hunter
    A smorgasbord of empty calories, the Vin Diesel vehicle The Last Witch Hunter, for all its overstuffed visuals, leaves you hungry. But not for more.
  11. Heart of a Dog
    Heart of a Dog is about telling and remembering and forgetting, and how we put together the fragments that make up our lives — their flotsam and jetsam, highs and lows, meaningful and slight details, shrieking and weeping headline news.
  12. Jason and Shirley
    Flashbacks and fantasy sequences undercut the claustrophobic atmosphere. What’s left is amateurish play acting — pointless for anyone who hasn’t seen “Portrait of Jason” and redundant for those who have.
  13. Jane B. par Agnès V. (1988)
    While the word “feminism” is never uttered in this movie, Jane B. par Agnès V. is an exemplary feminist work, one in which two female artists, self-aware but hardly self-conscious, create beauty by exchanging notes.
  14. The Boy from Geita
    [A] brutally powerful documentary.
  15. Homemakers
    The movie is thin on true narrative, preferring to study Irene without shedding quite enough light on her background or tracking her development.
  16. Field Niggas
    While the movie’s multiple images are never less than numinous, and its rhythms sometimes skirt the strangely seductive, this astonishing movie is the opposite of hypnotic.
  17. Tab Hunter Confidential
    Jeffrey Schwarz’s documentary portrait Tab Hunter Confidential is as mild-mannered and blandly likable as its subject.
  18. All Things Must Pass
    This movie makes you appreciate anew the one-on-one social dimension lost in the music industry’s headlong switch to digital downloads.
  19. Meadowland
    The setup is a scriptwriting gimme — if your central couple lose a child, practically any subsequent behavior is justifiable — but the actors sell what they’re given quite effectively.
  20. Mi America
    Mi America is not just about a murder case but about how residents of divided communities share a history and deal with one another, sometimes hopefully, always warily.
  21. The Russian Woodpecker
    Whatever the facts, Mr. Gracia’s messily structured film works best as a document of fear in today’s Ukraine and as a kind of ghost story about the Soviet Union.
  22. Truth
    More than most docudramas about fairly recent events, it is so well written and acted that it conveys a convincing illusion of veracity.
  23. Experimenter
    Mr. Almereyda takes Milgram, his work and ideas seriously but doesn’t suffocate them: Despite the story’s freight, the laboratory shocks and Milgram’s insistent melancholia, Experimenter is a nimble, low-frequency high.
  24. The Assassin
    The film is intriguing, but ultimately opaque, a lovely, inert object that offers, in the name of movie love, an escape from so much that is vital and interesting about movies.
  25. Room
    While it flickers with grace and imagination during its initial half, largely because of Jack, it devolves into a dreary, platitudinous therapy movie in its second, largely because of Ma.
  26. Goosebumps
    More often than not, Mr. Letterman uses his movie as a toy chest of characters more than as a medium, the muggy Mr. Black included.
  27. Crimson Peak
    The film is too busy, and in some ways too gross, to sustain an effective atmosphere of dread. It tumbles into pastiche just when it should be swooning and sighing with earnest emotion.
  28. Beasts of No Nation
    The movie itself is an effective nightmare, and a solid piece of filmmaking, strong enough to make you wish that it could have borne the full weight of the tragedy it set out to depict.
  29. Bridge of Spies
    Like some of Mr. Spielberg’s other recent movies, notably “Lincoln” and “Munich,” this one is a meticulously detailed period piece that revisits the anxieties of the past while also speaking to those of the present. Yet it also feels lighter than those films, less weighted down by accreted history or maybe by a sense of duty to its significance.
    • 55 Metascore
    • 60 Critic Score
    A Ballerina's Tale
    Mr. George chooses to avoid the more heart-wrenching aspects of Ms. Copeland’s tough upbringing, and his presentation of her remarkable comeback is remarkably low on suspense.
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