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. Famous Nathan
    The movie is choppy and rushed — a bumper-car ride that somehow fits the rough-and-tumble era it recalls.
  2. Lila & Eve
    The main, and perhaps the only, reason to see the revenge thriller Lila and Eve, a shallow, cut-rate “Thelma and Louise,” is for the thunderous lead performance of Viola Davis.
  3. Northern Limit Line
    Striving to dramatize a real-life battle that occurred in 2002 near Yeonpyeong Island in the Yellow Sea, the writer and director, Kim Hak-soon, stirs corn and cliché into a paean to patriotism.
  4. Alléluia
    Alleluia is a fever dream of sex, jealousy and murder whose intensity leaves you spellbound.
  5. Steak (R)evolution
    This informative foodie film is more than just footage of assorted chefs cooking delicious-looking cuts of meat. The tour encompasses breeders, butchers, grazing practices and genetics.
  6. Ardor
    This slow-paced, cut-to-the-bone drama ought to be gripping, especially as the jungle and its beasts make their presence felt. But curiously, Ardor lacks tension, maybe because the actors are playing archetypes: Little is said, and there are few surprises.
  7. A Hard Day
    A kinetically visceral, enjoyable nasty joy ride, “A Hard Day” is pretty much as advertised.
  8. Mr. Holmes
    The film’s plots are soft and flimsy, and they don’t mesh as gracefully as they might, but they do serve as an adequate trellis for Mr. McKellen’s performance, which is gratifyingly but unsurprisingly wonderful.
  9. The Stanford Prison Experiment
    The experiment’s methodologies and meanings have been analyzed endlessly over the years, and the film doesn’t delve deeply into these interpretations and critiques. It doesn’t need to; this stark and riveting version of events speaks for itself.
  10. The Look of Silence
    A painful, profoundly empathetic work of moral reckoning.
  11. Irrational Man
    The horror of where rationalism can lead (the death camps, for one) hangs over Irrational Man and helps hold you as does Mr. Phoenix, even with some bad writing and Mr. Allen’s narrative laxity and lack of interest in how real people live.
  12. Trainwreck
    What’s energizing and exciting about Amy, especially when compared with the sexless cuties populating rom-coms, in which female pleasure is often expressed through shopping, is that her erotic appetites aren’t problems that she needs to narratively solve and vanquish.
  13. Ant-Man
    This film is a passable piece of drone work from the ever-expanding Marvel-Disney colony. It provides obligatory, intermittently amusing links to other corporate properties, serving essentially as a sidebar to the “Avengers” franchise.
  14. Court
    [A] quiet, devastating critique of the antiquated Indian legal system.
    • 34 Metascore
    • 30 Critic Score
    Jellyfish Eyes
    It is poorly shot and afflicted by tedious sound (lots of screaming and saccharine music) and inept special effects. It moves with either incomprehensible abruptness or tedious slowness, especially at supposedly suspenseful moments.
  16. SlingShot
    Although independently funded, it was directed by a longtime collaborator of Mr. Kamen’s with the clear purpose of getting the word out about the product.
  17. What We Did on Our Holiday
    A damp-eyed comedy whose banal title isn’t the only thing needing improvement.
  18. Tap World
    It would be better if it had a bit less proclaiming and a bit more nuts-and-bolts information, but still, it’s refreshing to see people bubbling over with enthusiasm for an art that is somewhat out of the mainstream.
  19. Strangerland
    The progressive wrinkles...are both the fascination and the frustration of Strangerland, which strains credulity with its secrets and revelations to facilitate its surprises.
  20. Meet Me in Montenegro
    Though Mr. Holdridge and Ms. Saasen feel genuine, they lack acting chops, and their screenplay’s self-consciousness about romantic clichés plays like a cliché itself.
  21. Mad Women
    This film overstays its welcome and has pacing problems. But its eclectic characters certainly linger.
  22. The Gallows
    The horror movie The Gallows starts with a decent if improbable premise, and it ends with a pretty good jolt. But in between, the film sure wears out the already tired found-footage device.
  23. Stations of the Cross
    As Maria crumples before our eyes, many will find Stations of the Cross heartbreaking and infuriating. Others may laugh out loud at her mother, a walking nightmare of pious, punishing rectitude.
  24. Tangerine
    Tangerine encompasses dizzying multitudes — it’s a neo-screwball chase flick with a dash of Rainer Werner Fassbinder — but mostly, movingly, it is a female-friendship movie about two people who each started life with an XY chromosome set.
  25. 10,000 km
    The director’s discipline is remarkable, and also a bit constricting.
  26. Do I Sound Gay?
    Mr. Thorpe’s explorations of a painful subject are an exercise in healing. His discovery of how many gay men share his anxiety and discomfort leads him to greater self-acceptance.
  27. Minions
    The good news is that the minions are more (unconsciously, if perhaps also strategically) in touch with their anarchic side than the typical onesie-wearing crusader, which suits the directors Pierre Coffin and Kyle Balda’s well-tuned sense of the absurd.
  28. Self/less
    [An] entirely preposterous, not entirely unenjoyable movie.
  29. Boulevard
    As truthful as it is, Boulevard conveys little insight into characters who are believable and well acted but incapable of change.
  30. Cartel Land
    Mr. Heineman has said that he wanted Cartel Land to feel like a narrative film as much as possible, and to an extent it does. What’s missing is a directorial point of view, including about vigilante groups, the so-called war on drugs, and Mexican and American policies and politics.
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