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. The Forecaster
    The Forecaster has the distinct hermetic feel of a documentary that employs an echo chamber of people too close to the material.
  2. That Guy Dick Miller
    The survey, pockmarked with sometimes dopey animations and music, feels scattered and less than the sum of Mr. Miller’s many parts. But it has its heart in the right movie-mad place.
  3. The Hand That Feeds
    The Hand That Feeds is an effective portrayal of the intricacies of activism — and of a situation in which victories seem all too brief.
  4. 5 to 7
    The city doesn’t need to be real in a romantic movie, but the feelings must be. Although Mr. Levin tends to embrace clichés and overstatement (Brian’s parents, Arlene and Sam, played by Glenn Close and Frank Langella, are straight out of Yiddish vaudeville), he can also surprise you with delicate touches, a pained look, a wince of recognition.
  5. Boychoir
    There’s nothing wrong with being uplifting, but something less predictable would have been refreshing.
  6. Manos Sucias
    The light is menacing, the mood watchful and the action scenes have a crude, desperate energy that gets the job done. Here, violence is neither weightless nor glorified, but just another obstacle on the way to a better future.
  7. The Girl Is in Trouble
    A modern-day noir weighed down by redundant narration and a forced plot, The Girl Is in Trouble feels like a tug of war between the actors, who understand the need for lightness, and dialogue that emerges in expository clots.
  8. Last Knights
    Its cast aside, Last Knights proves as square and blandly manly as an old “Prince Valiant” comic strip. Mr. Owen’s hairdo and the faint smile edging his lips are more fetching than anything about Val, and the movie’s violence is more explicit than in most vintage comics, but “Knights” also works by combining narrative simplicity with moral certitude and appealing graphics.
  9. Lambert & Stamp
    A loving, freewheeling new documentary by James D. Cooper, tells this origin story with panache and nostalgia.
  10. Cut Bank
    It is up to its fine cast to build what little sense of mystery is conjured and to bring a sense of coherence to a narrative mishmash that is all smirking attitude with no subtext. Think of it as a goof.
  11. Effie Gray
    The cinematic equivalent of a Brazilian wax, the movie omits much of the story’s most interesting material to create something that’s been smoothly denatured.
  12. Cheatin'
    Mr. Plympton rewrites the laws of physics at will, but within a rigorous and coherent logic. He conjures a world of absolute improbability that, somehow, makes perfect sense.
  13. Furious 7
    There will no doubt be better movies released in 2015, but Furious 7 is an early favorite to win the prize for most picture.
  14. Ned Rifle
    Even if this minor coda plays to an increasingly closed circle of admirers, it gives the trilogy a pleasing, moving symmetry.
  15. Woman in Gold
    Apart from Ms. Mirren’s performance, Woman in Gold smugly and shamelessly pushes familiar buttons.
  16. My Italian Secret: The Forgotten Heroes
    The director, Oren Jacoby, who made the Oscar-nominated short “Sister Rose’s Passion” and the feature “Constantine’s Sword,” doesn’t give My Italian Secret much structural or chronological organization. The anecdotal presentation sometimes seems more suited for museum browsing than for viewing in a theater.
  17. The Riot Club
    Lone Scherfig (“An Education”), the Danish filmmaker who directed the movie from a screenplay by Ms. Wade, has coaxed wonderfully nasty performances from a young cast.
  18. Marfa Girl
    The scandal of Mr. Clark’s more recent movies, including “Wassup Rockers” and “Ken Park” and this new one, resides more in its tedium and lack of insight than its strenuously provocative content.
  19. Cupcakes
    This candy-coated confection is so irresistible that you’re captivated by its sentiment even as you acknowledge its manipulations.
  20. Nightlight
    A spare trifle carried largely by its leading actress.
  21. Man from Reno
    Man From Reno fascinates. It invites you to go back, decipher its clues and discern a grand design, if there is one.
  22. Serena
    The actors don’t just look uncomfortable in their period duds, they also look uneasy in their own skins, which is a feat for two such natural, physically confident screen performers.
  23. A Wolf at the Door
    As a piece of storytelling, A Wolf at the Door may be a tawdry little shocker. But on a visceral level, it is a knife to the gut.
  24. White God
    In classic narrative fashion, Mr. Mundruczo works the setup like a burlesque fan dancer, teasing out the reveal bit by bit.
  25. While We're Young
    This film, Mr. Baumbach’s movie, mostly brings a light touch and a forgiving gloss to its own self-consciousness. It is not afraid to be implicated in the confusion — in the self-involvement, the anxiety, the pettiness — it depicts. But there are also areas where it feels soft and compromised, where the subtlety and clarity of Mr. Baumbach’s vision seem to desert him.
  26. The Barber
    Scott Glenn handles the balancing act required of him in “The Barber” with his usual skill... The film, though, delivers its plot twists muddily and doesn’t really distinguish itself from the countless other creepy-killer tales out there.
  27. 52 Tuesdays
    A frustratingly fragmented yet warmly intimate portrait of an evolving bond that frays but doesn’t sever.
  28. Home
    A charming concoction with positive messages for younger children about conquering fears, understanding outsiders and knowing yourself.
  29. Get Hard
    The highest praise I can give Get Hard is that it is not quite as awful as it could have been.
  30. The Kidnapping of Michel Houellebecq
    A divertingly eccentric, often comically absurd movie.
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