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. Please Be Normal
    A tiny, piercing study of dawning desperation that’s all the more remarkable for being virtually silent.
  2. Growing Up and Other Lies
    Mr. Jacobs and Mr. Grodsky have an extraordinary ear for the rhythms and nuances of everyday speech, as voices overlap, conversations take random directions, and casual remarks carry loaded subtexts.
  3. La Sapienza
    The movie is an unapologetically rarefied undertaking and at the same time a gracious and inviting film. And it embodies an elegant and melancholy paradox: What looks like tourism is really the pursuit of truth and beauty, and vice versa.
  4. She's Lost Control
    She’s Lost Control sustains a mood of deepening alienation, but the attitude of the movie is too detached for it to be emotionally gripping, and its ending is botched.
  5. Lost and Love
    Lost and Love (“Lost Orphan” in the original Chinese title) confronts serious problems but is too busy reaching for epic sweep and soaring moments to nail the fine detail of main characters’ fraught give-and-take.
  6. Metalhead
    It taps into something universal, and very precious, about loss, art and adolescent rebellion.
  7. Spring
    The actors get a chance to create a real relationship, and they make the most of the opportunity.
  8. Secret of Water
    There’s a whole lot of hogwash in Secret of Water, a cheesy documentary stuffed full of pseudoscience masquerading as profound truth.
  9. Can't Stand Losing You: Surviving the Police
    A movie singularly lacking in rock-doc unpredictability and verve.
  10. Zombeavers
    An intermittently diverting stew of low-budget effects and potty-mouth humor.
  11. Danny Collins
    What authenticity Mr. Cannavale and Ms. Bening bring to their roles is the sense of groundedness and integrity for one-note characters in a movie whose screenplay is little more than an efficiently executed outline.
  12. Tracers
    Corny twists and exchanges ensue in the wobbly story, but, delightfully, Daniel Benmayor’s film shows love not just for stunts but for the dynamic surfaces of the city.
  13. The Divergent Series: Insurgent
    Tighter, tougher and every bit as witless as its predecessor, The Divergent Series: Insurgent — the second segment in the cycle — arrives with a yawn and ends with a bang.
  14. Backcountry
    Mr. MacDonald’s ability to notch up dread moment by moment — with a rustle of leaves, the snap of a twig — is all the more impressive given that it takes a while to warm up to the two souls he cuts loose in those woods.
  15. Jauja
    The rounded-off corners of the almost-square frames evoke early movies and antique photographs, and there is wit and mischief in the way Mr. Alonso plays with the relationship between what we see, what we don’t see and what we expect to see.
  16. The Gunman
    It’s not a hard and fast rule, but in general when the main character, sometime in the third act, says, “I did some bad things ... ” and stares off into the middle distance, the implied end of the sentence is “including this movie.”
  17. Kumiko, The Treasure Hunter
    A delicate, haunting study of a woman who has in several senses lost her way.
  18. Amour Fou
    it can be a strategically off-putting movie yet one that also steals under your skin scene by scene and through Ms. Schnoeink’s slowly revealing performance as an ill-fated heroine turned future biographical footnote.
  19. The Lovers
    [An] inert, exasperatingly proportioned phantasmagoria from Roland Joffé.
  20. Like Sunday, Like Rain
    Ms. Meester and Mr. Shatkin mesh beautifully, so much so that you might feel a little cheated at the end.
  21. Walter
    In touching lightly on themes without committing to any of them, the movie falls flat. What should be sweet is saccharine, what might be profound seems trite.
  22. The Wrecking Crew
    Mostly, it’s hagiography, with stars like Cher and Brian Wilson used as character witnesses to the players’ greatness.
  23. Home Sweet Hell
    While the oafish men come off poorly, the treatment of women as nothing more than schemers and monstrous Martha Stewart clones seems woefully past its expiration date.
  24. Eva
    The story has several well-disguised twists, and although it’s a drama, it is sprinkled with touches of whimsy, thanks to a colorful collection of robots.
  25. The Cobbler
    The sophomoric humor may be absent, but in its place is only a soufflé of whimsy, seasoned with soot, that fails to rise.
  26. Champs
    Now and then this documentary by Bert Marcus rises above mere promotion, leaving you wishing it had tackled the sport’s difficult questions in more depth.
  27. Cymbeline
    Cymbeline has been branded a tragedy, a tragicomedy and a romance, and Mr. Almereyda embraces all three categories. The movie is by turns grim, grimly amusing and romantic, sometimes at once.
  28. 3 Hearts
    The screenplay relies on so many mechanical contrivances to make the story gripping that you can hear the rusty machinery clanking.
  29. Run All Night
    The movie, directed by Jaume Collet-Serra, who directed Mr. Neeson in the efficient airborne thriller “Non-Stop,” has two saving graces: a tight script and terrific acting.
  30. Cinderella
    Mr. Branagh’s ascension into big-budget studio directing largely remains a mystery, and there’s little in Cinderella beyond its faces and gowns that captures the eye or the imagination.
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