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. Home from Home: Chronicle of a Vision
    Home From Home is imbued with the villagers’ attachment to the land, but while dutifully capturing the period, the film feels less layered than Mr. Reitz’s past work.
  2. Breathe
    Breathe conveys an uncanny insight into the psychology of late adolescence, when lingering childhood fantasies can combust with burgeoning adult sexuality in a swirl of uncontrollable feelings.
  3. The Beauty Inside
    The film, pleasing and inoffensive, often amuses as it wrestles with the nature of familiarity as well as the question of where beauty resides.
  4. 90 Minutes in Heaven
    Rendering a miraculous premise dull, the film seems relatively uninterested in doing more than preaching to the choir.
  5. The Visit
    The director M. Night Shyamalan has a fine eye and a nice, natural way with actors, and he has a talent for gently rap-rap-rapping on your nerves.
  6. A Brilliant Young Mind
    This warm, robust movie ultimately transcends the formulas with which it flirts to become a far more subtle and honest result than a machine-tooled tear-jerker like “The Theory of Everything.” When the film doesn’t try to build up the usual suspense found in movies about competition, you sigh with relief.
  7. Sleeping with Other People
    Ms. Headland has a concept for a latter-day screwball comedy — two romantically challenged friends whose hang-ups create a roadblock to coupledom — but she doesn’t have the jokes or the emotionally textured characters that can fill in that conceit.
  8. Welcome to Leith
    Welcome to Leith wisely resists the kind of gimmickry that might have resulted in a stylistic hybrid of “The Blair Witch Project” or “Invasion of the Body Snatchers.”
  9. Time Out of Mind
    Mr. Gere is fascinating to observe in this role, partly because he refuses to solicit sympathy, or even attention. Time Out of Mind is an intimate portrait of a man caught between the desire to be left alone and a need for human connection.
  10. Coming Home
    There is terrible pain here, and the main interest of the film is in how the characters respond to it and what their response says about China’s understanding of its recent history.
  11. Contracted: Phase II
    Mr. Mercer’s character doesn’t attract sympathy comparable to that for Ms. Townsend’s (Ms. Lore’s Harper fares better), but there is no holding back on the worms, dermatologic nightmares, venereal-disease metaphors and hints of future sequels. Start stocking up now on the Pepto-Bismol.
  12. Chloe and Theo
    Chloe & Theo is surprisingly amateurish in concept and execution. There’s a line between a narrative that’s deliberately simple and one that’s painfully childish, and it’s not all that fine. But it’s one Chloe & Theo crosses repeatedly.
  13. The Golden Dream
    Buoyed by the wonderfully natural performances of its young leads, La Jaula de Oro is a compelling social-realist drama that owes much to the style of the British social-realist filmmaker Ken Loach.
  14. Steve Jobs: Man in the Machine
    If this isn’t the iPhone of documentaries, it gets its point across, and unlike Mr. Gibney’s Scientology exposé “Going Clear,” this movie has a harder target (albeit with its own devoted following).
  15. The Transporter Refueled
    The Transporter Refueled is crass and nonsensical, but it is hard to hate a movie in which a medical anesthetic is administered with a nightclub fog machine, the weapons include a ringed life preserver, an escape from a moving plane continues by car onto a jetway and the touch-screen banking software appears expressly designed for double-crossing.
  16. Before We Go
    The chemistry makes the movie’s pleasures easy to surrender to, albeit fleetingly.
  17. Dragon Blade
    Dragon Blade is the kind of nutsy maximalist entertainment that isn’t content merely to tap a handful of influences. Instead, it stuffs an entire encyclopedia of dicey ideas (visual, narrative, political) into a blender to create a wacky, eyeball-popping and -glazing extravaganza.
  18. Dirty Weekend
    What’s most curious is Mr. Labute’s kid-glove treatment of the scenario, forgoing real sexual gamesmanship, much less the opportunistic rug-pulling in past films. That baseline of sincerity is refreshing to a point, yet he’s written a fairly weak-tea story of conflicted self-discovery that would make for a mildly engaging evening on the stage.
  19. A Sinner in Mecca
    Mr. Sharma has created a swirling, fascinating travelogue and a stirring celebration of devotion.
  20. Blind
    Blind evokes a dreamy, dour fusion of Charlie Kaufman and Ingmar Bergman. Its few flashes of wry humor are outweighed by mystically beautiful images.
  21. Creep
    The film is remarkable, considering its minimal means and surprising lack of bloodshed, given the genre. Does it stay with you? A little.
  22. A Walk in the Woods
    It is unexpectedly moving and occasionally delightful to spend time with these titans of cinema as they walk and sometimes wobble, delivering words that become meaningful because they’re lucky enough to be spoken by Mr. Redford and Mr. Nolte.
  23. The Black Panthers: Vanguard of the Revolution
    What is clear from this sober yet electrifying film is that the power of the Panthers was rooted in their insistence — radical then, radical still — that black lives matter.
  24. Phantom
    The hapless secret agent heroes of Kabir Khan’s revenge thriller Phantom, could have used some pointers before being sent into the field.
  25. My Voice, My Life
    There are few feelings as glorious as spreading your wings onstage for the first time. Ruby Yang captures that rare electricity in her documentary My Voice, My Life, about Hong Kong teenagers who put on a show.
  26. Fever
    Fever doesn’t come to a neat ending and ultimately feels unsatisfying. Before then, though, it’s an intriguing and intelligent update of a true crime still chilling more than 90 years later.
  27. Z for Zachariah
    Maintaining a strict formal allegiance to reserve and restraint, [Mr. Zobel] shapes a dreamily elegant emotional ballet from glances and gestures and subtle shifts in power.
  28. We Are Your Friends
    The action slowly builds and breaks down, with dance beats kicking in periodically. Not much resonates here; it’s all facile entertainment.
  29. Memories of the Sword
    Though rich in period detail, the movie grows tiresome with solemn, protracted soap-operatic encounters laden with glowering stares and tearful outbursts.
  30. When Animals Dream
    When Animals Dream is a beguiling parable of cruelty and the resistance to it. Its special effects are pretty minimal, its scope is modest, and it is, in the end, more touching than terrifying, intent on jolting its audience not with dread but with compassion.
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