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. Big Sky
    The film rests on the attractive but opaque Ms. Thorne, who is not ready for such weight. Commendably, she stretches her acting muscles, but Hazel’s internal struggle remains elusive. Viewers need more to connect with.
  2. People Places Things
    As the movie fizzles, Mr. Clement’s endearing performance breathes what little life is left into a movie that, much like the insufferable Charlie, can’t make up its mind about where to go or how to get there.
  3. Return to Sender
    For most of the way, Return to Sender merges creepy and sexy to good effect, thanks to a close-to-the-vest performance by Rosamund Pike.
  4. Tom at the Farm
    Wildly entertaining, sexy and beautifully shot in the Canadian heartland.
  5. Fort Tilden
    Rarely has a movie so humorously illustrated the meaning of “frenemy.”
  6. Ten Thousand Saints
    If you are one of those people who romanticize the East Village in New York when it was at its grungiest, Ten Thousand Saints might be the movie of your dreams. Even if you’re not, it’s still a very fine film, full of quietly impressive performances and young characters who register as authentic.
  7. Meru
    Blindingly beautiful and meticulously assembled by the award-winning editor Bob Eisenhardt, Meru easily makes you forget that what you are watching is completely bananas.
  8. We Come as Friends
    With an eye for landscapes stunning and hellish, [Mr. Sauper] is the rare documentary filmmaker who not only takes on tough subjects but also explores them with a vivid visual and aural approach.
  9. Prince
    At times tender and at others unflinchingly brutal, this small drama of innocence and temptation could have aimed much higher.
  10. The Great Man
    The filmmaker Sarah Leonor has a keen eye and a gentle, unassuming touch. In The Great Man, she discreetly changes moods and storytelling modes like a pianist sliding her hand down a short, soft glissando.
  11. Mistress America
    Far from romanticizing creativity and the artistic process, Mr. Baumbach’s films portray the world of painters, filmmakers and literati as an overcrowded, amoral jungle of viperish entitled narcissists stealing from one another for fame and profit.
  12. Straight Outta Compton
    The partying is as bland as any all-purpose music video and feels more like another script signpost (and audience-pandering) than a serious attempt to get out what it means to be young, black, gifted, fabulously wealthy and much desired. Mr. Gray does far better when the story edges into heavier, more dappled realms.
  13. The Man from U.N.C.L.E.
    Mr. Ritchie tends to flaunt his wares like a store clerk, fawning over the clothes, chairs and cars, and his usual rabbity pace slows to a tortoiselike crawl whenever the actors deliver a lot of words, which gratefully isn’t often. His talent, as he proves repeatedly, is making bodies and cars crash through space.
  14. How to Smell a Rose: A Visit with Ricky Leacock at his Farm in Normandy
    Documentary masters like Mr. Leacock and Mr. Blank have long been drawn to filming other artists, even though the enigma of artistic endeavor may appear to elude portrayal on film. But in How to Smell a Rose, it’s just as important to feel the relationship between these two, with Mr. Leacock as something of a mentor.
  15. God Bless the Child
    Shot with available light, the suburban rambles are portrayed so naturally that it’s hard to believe they are scripted.
  16. Call Me Lucky
    The movie strains to drum up mystery as to the sources of Mr. Crimmins’s rage. When it finally spills the beans, you feel unnecessarily manipulated.
  17. Homme Less
    Mr. Wirthensohn, who has known Mr. Reay since both were models, sees Mr. Reay’s life as a metaphor for the vanishing middle class. But Mr. Reay merely comes across as an aging casualty of Manhattan fashion, vainly chasing his fortune in a fickle industry that prizes youth.
  18. Sneakerheadz
    Rapid editing leaves little time to absorb vocabulary (such as “deadstock,” a new shoe that has never been worn) or intricacies of design.
  19. Kahlil Gibran's The Prophet
    This collection of eight mini-sermons falls flat.
  20. Assassination
    Assassination has sprinkles of wit and a nicely restrained anchor in Lee Jung-jae.
  21. The Runner
    All of the characters here are underwritten, and Mr. Cage and most of the other actors don’t seem to be putting much effort into them.
  22. Cop Car
    It’s an extremely well-lubricated entertainment machine filled with attractive images and wall-to-wall appealing performances.
  23. Ricki and the Flash
    Ricki’s attitudes, and their place in the family and the society she inhabits, are the most interesting part of the movie, or at least they would be if Ms. Cody and Mr. Demme were not so weirdly conflict-averse.
  24. Fantastic Four
    This Fantastic Four, directed by Josh Trank from a script he wrote with Simon Kinberg and Jeremy Slater, feels less like a tale of superhero beginnings than like a very long precredit opening sequence.
  25. The Diary of a Teenage Girl
    The novel is life-specific, but what makes Minnie — on the page and now on the screen — greater than any one girl is how she tells her own story in her own soaringly alive voice.
  26. The Gift
    Underneath it all, The Gift is a merciless critique of an amoral corporate culture in which the ends justify the means, and lying and cheating are O.K., as long as they’re not found out.
  27. Shaun the Sheep Movie
    A charming and clever concoction.
  28. Dark Awakening
    Overabundant diffuse lighting and wide-angle perspectives only compound this horror movie’s deficiencies in plot and dialogue.
  29. Two Step
    This lean character-driven movie has such an acutely observant screenplay that it is easy to empathize with people struggling to make a decent living by hook or crook. Its psychological precision elevates it to something more than a genre piece.
  30. Counting
    A wistful meditation on the world, its beauties, mysteries and injustices.
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