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. Love, Rosie
    Whether the material is “Much Ado About Nothing” or “When Harry Met Sally,” if your story requires keeping true loves apart, it is often polite to pass the time with a steady flow of comedy.
  2. Outcast
    The barnacle-encrusted plot...is dumbed down to the studs.
  3. The SpongeBob Movie: Sponge Out of Water
    The new film displays enough nutty writing and sheer brio to confirm the stamina of its enduring and skillfully voiced characters.
  4. Seventh Son
    If nothing else, it’s amusing to imagine what [Mr. Bridges] and Ms. Moore chatted about between takes and how each managed to keep from cracking up, more or less.
  5. Jupiter Ascending
    With its nods to the original “Star Trek” and David Lynch’s proto-steampunk hallucination “Dune,” it seduces the eye with filigreed flourishes even as the mind reels from some of the mildewy storytelling.
  6. Call for Help
    If the point of Call for Help is to glorify a handful of off-the-grid heroes, it fails. If the point is to follow some young people who took their aimless wanderlust to a trouble spot and perhaps created more problems than they solved, it succeeds.
  7. On the Way to School
    On the Way to School never wavers in its bland uplift.
  8. Enter the Dangerous Mind
    Partly thanks to Ms. Reed — as well as to Scott Bakula, as Wendy’s beleaguered boss, and minor players — the movie has its share of underplayed little scenes of realistic color.
  9. Ballet 422
    Ballet 422 elegantly conveys the complex collaborations behind even a relatively modest production, and the toil and discipline that somehow deliver, for the patrons on opening night, a seamless spectacle of grace.
  10. Mad As Hell
    It’s a job requirement for a show host like Mr. Uygur to project his personality and beliefs; this filmmaker doesn’t muster a healthy skepticism to match.
  11. The Voices
    Grisly but not especially suspenseful, tongue-in-cheek without any real wit, The Voices aims to hit the intersection of horror and comedy but tumbles into an uncanny valley of tedious creepiness.
  12. Lovesick
    This soulless, sterile romantic comedy has slipped under the wire to give audiences a headache and Matt LeBlanc’s reputation a relapse.
  13. Hawaizaada
    Mr. Puri works hard, but the strain shows and so do the movie’s seams. And Mr. Khurrana, who rides the line between ingratiating and annoying, has trouble carrying the movie.
  14. Above and Beyond
    These fond recollections of derring-do hail from a different era, and the movie’s one-sided view of history is bound to start arguments. The film is best appreciated as a straightforward testimonial: old war buddies’ hurrah against anti-Semitism.
  15. Supremacy
    Feeding over-the-top language to underdeveloped characters, Deon Taylor’s Supremacy dramatizes racism with an unvarying intensity that quickly becomes wearing.
  16. Wild Card
    Slow-motion knockouts follow, with Mr. Statham as sure-fisted as ever, but the “Expendables” director Simon West can only summon dead air in between. Mr. Goldman’s slightly offbeat underworld is not very convincing, and Mr. Statham’s thick voice and inexpressive acting suggest brain fog rather than gritty blues.
  17. Hard to Be a God
    Mr. German was just as stubborn in sticking to his personal vision (and revisions) as he was innovative in his storytelling, and he’s left behind a final opus that is hard to shake.
  18. The Devil's Violinist
    A shallow commentary on how an artist’s talent can be subsumed by the desire for fame and fortune. Or maybe just by the need to make a movie.
  19. Backstreet Boys: Show 'Em What You're Made Of
    It is insight-free and cliché-heavy, with the five sharing obvious reminiscences about the thrill of superstardom, visiting haunts from their youth, shooting baskets and occasionally rehearsing.
  20. Amira & Sam
    Written and directed by Sean Mullin, a comedian and onetime Army officer (he plays a comic in the film), Amira & Sam is more successful as a portrait of veteran alienation than as a romance.
  21. Alien Outpost
    The writing is so poor and the visual embellishments so few that some of the violence, like the frequent attacks on the base by local villagers, make little sense.
  22. Project Almanac
    The wish fulfillment of time travel tends to be fun to watch, and the director, Dean Israelite, feeds on the friends’ giddy escapades for a while.
  23. Girlhood
    Even as she stops at familiar stations on the road to maturity — problems at home and school, new friendships and first love — Ms. Sciamma revels in the risky, reckless exuberance of adolescence and in the sheer joy of filming it.
  24. Black or White
    Mike Binder’s steady, well-intentioned exploration of the racial tensions affecting two branches of a Southern California family, is notable for what it doesn’t try to do.
  25. My Name Is Hmmm...
    My Name Is Hmmm ... has its magical moments, but they are sabotaged by the director’s showy, ham-handed technique applied to a frustratingly threadbare screenplay that leaves you wanting more.
  26. Timbuktu
    Timbuktu is an act of resistance and revenge because it asserts the power of secularism not as an ideology but rather as a stubborn fact of life.
  27. Miss Hill: Making Dance Matter
    The director, Greg Vander Veer, makes this case through the sheer number of people he interviews.
  28. We'll Never Have Paris
    This derivative comedy, in addition to not being particularly funny, gives off a sense of telling us more than we needed to know.
  29. Americons
    Mr. Avgerinos’s glossy, overripe take on high-flying, unscrupulous lenders — the wolves of Main Street — deteriorates into a hot mess of montages, trailer-ready one-liners and thudding drama.
  30. Song One
    Heartfelt but enervated, Song One noodles around the Brooklyn music scene without stirring up magic.
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