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. Any Body Can Dance 2
    For all the movie’s flashy pyrotechnics and pulverizing techno-ish musical numbers, gleaning an emotional pulse can be challenging.
  2. Evaporating Borders
    Despite the urgent subject matter and lyrical touches, it’s a film that needs further layers of complication and texture.
  3. Phantom Halo
    A dark, satisfying work that can be forgiven for the moments it succumbs to Hollywood convention.
  4. Manglehorn
    In truth, it’s less Manglehorn than Mr. Pacino that you warm up to in this film, as so many times before.
  5. Burying the Ex
    The movie’s snap and affection put other recent zombie-related entertainments to shame, and the in-jokes...are a Dante signature. But the freedom of the director’s best work is missing.
  6. The Face of an Angel
    Rambling, frustrating and wholly uninvolving, The Face of an Angel (based on Barbie Latza Nadeau’s nonfiction account of the murder) swarms with ideas that have no place to land.
  7. Hippocrates: Diary of a French Doctor
    Hippocrates unfolds pretty much like an average episode of “ER,” though with more French flag waving and less storeroom romancing.
  8. Infinitely Polar Bear
    In Infinitely Polar Bear, Ms. Forbes hasn’t made a movie about her father’s illness; she’s made one about her father, who, through hard and weird times, clearly helped give her what she needed so that one day she could tell this story.
  9. The Wanted 18
    Even at 75 minutes, it can feel padded with footage whose connection to the central plot is tenuous. But at its best, The Wanted 18 follows a worthy tradition of highlighting absurdities that arise during conflict.
  10. Gabriel
    This film maintains its anxious themes throughout, which makes for some tedious stretches because the tension never breaks. Despite that, or maybe because of it, Gabriel is unexpectedly absorbing.
  11. 3 1/2 Minutes, 10 Bullets
    At the time of a fervent national debate on race and justice, part of what is impressive about 3 ½ Minutes is the cool temperature at which it is often served.
  12. Rubble Kings
    At slightly more than an hour, the film may not be definitive, and its chronology is a little fuzzy. Even so, Rubble Kings is a fascinating, valuable work of social, music and New York history, a celebration of a peaceful revolution by those who helped birth it.
  13. Balls Out
    Besides a clever, blithely ribald script by Bradley Jackson, the movie benefits from a potent “Saturday Night Live”-empowered cast.
  14. Eden
    Restrained but never tentative, remote yet enormously affecting, the movie’s evocation of artistic compulsion is accomplished with confidence and verve.
  15. The Overnight
    The Overnight ends just as it starts to get interestingly messy, tapping into something real and sweetly touching.
  16. Dope
    It’s easy to root for Malcolm, to admire his pluck and share in his enthusiasm. It may be a little harder to buy what he and Dope are selling.
  17. Tentacle 8
    Mr. Chi, making his feature debut with Tentacle 8, lavishes attention on his characters at the expense of the through line binding them.
  18. Inside Out
    Inside Out is an absolute delight — funny and charming, fast-moving and full of surprises. It is also a defense of sorrow, an argument for the necessity of melancholy dressed in the bright colors of entertainment.
  19. The Tribe
    The Tribe deploys an elaborate, rigorously executed conceit in support of a weary, dreary hypothesis: People are awful. That might well be true, but there’s no need to shout.
  20. Hamari Adhuri Kahaani
    The movie may suffer from a surfeit of excesses, but it does have arresting, if overwrought, things to say about domestic abuse in India.
  21. The Wolfpack
    Documentary has a tradition of trafficking in the misery of other people’s lives, so it’s a relief that “The Wolfpack” doesn’t drag you down or offer packaged uplift, but instead tells a strange tale with heart and generosity.
  22. Madame Bovary
    What wildness there is in this Madame Bovary belongs to Ms. Wasikowska, an actress who is frequently more interesting than her material.
  23. Chagall-Malevich
    It’s a literally colorful and playful attempt to portray battlefields of artistic ambition and political struggle. But its dialogue and characters are also written as subtly as a radical manifesto.
  24. The 11th Hour
    Ms. Basinger commits to her disturbed character. But the script (by the director, Anders Morgenthaler) makes Maria’s behavior so reckless — at times, she’s practically begging to be mugged or worse — that we have no chance of sympathizing with her.
  25. The Stranger
    The movie benefits greatly from Mr. Amoedo’s largely steady direction and the uniform acting skills of its Chilean cast (performing in English).
  26. An Open Secret
    An Open Secret is affecting, particularly when the victims recount their experiences in voices that crack with emotion or pause with pain. Even if you do look away, hearing them speak is enough.
  27. Set Fire to the Stars
    Set Fire to the Stars barely skims the surface of characters you wish had been given more dimension, but as a snapshot of postwar academia and its pretensions, it exerts a creepy fascination.
  28. Live From New York!
    “Saturday Night Live” deserves much better than the documentary equivalent of what a book editor would surely dismiss as a rushed, careless clip job.
  29. The Yes Men Are Revolting
    The Yes Men Are Revolting, their third film, has a personal poignancy that is missing in the forerunners, “The Yes Men” (2003) and “The Yes Men Fix the World” (2009).
  30. Me and Earl and the Dying Girl
    The film is touching and small, but also thoughtful and assured in a way that lingers after the inevitable tears have been shed and the obvious lessons learned.
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