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. H.
    A clever film written and directed by Rania Attieh and Daniel Garcia, H. keeps the viewer watchful, waiting for it to splatter into a familiar horror plot or spin off into an alien abduction.
  2. Transfixed
    For sure, there are plenty of humorous moments here. But that underlying sadness is the most affecting aspect of the film.
  3. Kill Zone 2
    If there’s one rewarding thing about many Hong Kong action directors, it’s that they rarely dawdle in getting to what fight fans have come for: bracing shootouts and high-impact fisticuffs and footwork.
  4. Unlocking the Cage
    Part courtroom drama, part rumination on what separates human beings from other animals, the film is above all a sympathetic portrait of an advocate.
  5. My Big Night
    Thanks to his editor, Domingo González, Mr. de la Iglesia skillfully keeps these many balls in the air, a palpable affection for his players seeping through.
  6. Last Cab to Darwin
    Smartly directed by Jeremy Sims, this sweet-hearted film mostly manages to avoid triteness even as it casually packs an emotional punch.
  7. Suspicion
    One must remark that the ending is not up to Mr. Hitchcock's usual style, and the general atmosphere of the picture is far less genuine than he previously has wrought. But still he has managed to bring through a tense and exciting tale, a psychological thriller which is packed with lively suspense and a picture that entertains you from beginning to—well, almost the end.
  8. How to Let Go of the World and Love All the Things Climate Can't Change
    A one-word assessment of this documentary: Tough. As in, tough to watch. Tough to consider. Tough to ignore.
  9. Speed Sisters
    Subtly rebellious and defiantly optimistic, “Speed Sisters” masks the sound of gunshots with the roar of revving engines. For these women, driving symbolizes a freedom they can otherwise only imagine.
  10. It
    The filmmakers honor both the pastoral and the infernal dimensions of Mr. King’s distinctive literary vision.
  11. Sin Alas
    Mr. Chace does his finest work with Mr. Padrón, and together director and actor create a portrayal of a man who, even as he’s stirred to action, seems increasingly burdened by his sentimental education.
  12. Little Man Tate
    As directed by Ms. Foster, the film has a kind of purity of purpose and control that is very rare in mass-market movies. It avoids a lot of sentimental nonsense. It is also sparely (and well-) written by Scott Frank.
  13. Tikkun
    There is no denying the film’s uncanny power or its visual discipline. It’s a luminous puzzle with a few pieces missing.
  14. Hacksaw Ridge
    Desmond Doss was calm, humble and courageous, qualities Mr. Gibson honors but does not share. It is possible to be moved and inspired by Desmond’s exploits while still feeling that his convictions have been exploited, perhaps even betrayed.
  15. What We Become
    What We Become is a very pretty movie with a very dark heart. The payoff is brutal, but earned.
  16. Kaili Blues
    As lovely as the movie is to look at (and the final scene is exceptionally wonderful), it’s too oblique to concentrate its energies and sharpen its focus.
  17. Slack Bay
    As it turns out, modes of farce and fantasy enable Mr. Dumont to pull the rug out from under the viewer in a number of new and upsetting ways. Be prepared.
  18. Staying Vertical
    Something about the strangeness of the people and the harsh indifference of the nature that surrounds them feels real, even if realism in the conventional sense may be the last thing on the filmmaker’s mind.
  19. The Red Turtle
    The Red Turtle practices a minor, gentle magic. It wants you to smile and say, “Ahh,” rather than gasp and say, “Wow.” But somehow the understatement can feel a bit overdone, as if the film were hovering over you, awaiting an expression of admiration.
  20. Clash
    Clash turns into a full-fledged horror movie, albeit one without the fake comfort of a supernatural or science-fiction pretext. It’s just man’s inhumanity to man, in full sway.
  21. Endless Poetry
    The images in Endless Poetry are arresting and sometimes disturbing, but there is an earnest commitment to ecstasy and authenticity that renders moot any question of offensiveness or exploitation.
  22. Risk
    To some degree in spite of Ms. Poitras’s journalistic intentions — though very much as a consequence of her rigorous honesty — the picture that emerges is complicated, unsettling and intriguingly ambivalent.
  23. Pervert Park
    To be sure, nothing in this film is easy to hear. But that doesn’t mean that it shouldn’t be said, and learned from.
  24. Kiki's Delivery Service
    A conventional but delightful tale of self-discovery and heroism from Mr. Miyazaki, it feels like Disney one moment, Truffaut the next.
  25. As I AM: The Life and Times of DJ AM
    “As I AM” rockets through its subject’s life, teeming with testimonials from the superstar producer-D.J.s Mark Ronson and Paul Oakenfold, among many others. And then it ends, leaving you spent. And wistful.
  26. Carnage Park
    Its dialogue would probably fit on a couple of sheets of paper. But it sure is creepy, in a throwback sort of way.
  27. The Chaser
    While it could stand to lose 20 minutes and several plot twists, Mr. Na’s debut manages to be thought-provoking and adventurous while providing solid thrills.
    • 65 Metascore
    • 70 Critic Score
    The Sugarland Express
    The movie has a casual craziness that seems especially native.
  29. The President
    The Iranian director Mohsen Makhmalbaf (“A Moment of Innocence,” “Kandahar”) is not known for his kineticism, but The President — which he has suggested is his comment on the Arab Spring — has surprising urgency and sweep.
  30. Norman Lear: Just Another Version of You
    Effective topical entertainment, we are reminded, rarely comes without creative conflict.
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