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. Little Accidents
    The net effect of the messy bedroom sheets, the marital squabbling and lachrymose, emotional bloodletting is to turn a tragedy into an atmospheric backdrop for three isolated souls, all of whom might have started out considerably less lonely if the movie had a firmer grasp on the world in which they live.
  2. Paddington
    In stark contrast to their furry, blundering star, the makers of Paddington have colored so carefully inside the lines that any possibility of surprise or subversion is effectively throttled.
  3. Blackhat
    Michael Mann’s thriller Blackhat, a story about the intersection of bodies and machines, is a spectacular work of unhinged moviemaking. By turns brutal and sentimental, lovely and lurid, as serious as the grave and blissfully preposterous, it combines a truckload of plot with many of the obsessions, tropes, sights and sounds that distinguish his other movies.
  4. Giuseppe Makes a Movie
    Despite the poverty of his collaborators, Mr. Andrews, who seems to live on sardines and rice, doesn’t feel like an exploiter. He calls his friends “beautiful eccentrics,” which aptly describes him, too.
  5. I
    I is exuberant and unselfconscious but too cartoonish to engage your emotions. The onslaught of images and music will engage your senses, though, even as you’re left giggling at the too-muchness of it all.
  6. Match
    The movie pulls the rug out from under the audience several times, but in the end there is not much underneath.
  7. Human Capital
    It’s all handsomely managed, polished and professional, but the pieces are too neatly manufactured to feel as if anything is truly at stake.
  8. Vessel
    Vessel becomes a film not just about abortion but also about activism. It raises provocative questions about the power of laws to police information in an increasingly globalized world.
  9. Taken 3
    Mr. Megaton’s direction of action sequences borders on atrocious. Ragged camerawork and editing ruin freeway car chases and hand-to-hand combat alike.
  10. Farewell, Herr Schwarz
    Yael Reuveny’s Farewell Herr Schwarz traces a Holocaust mystery with stumbling curiosity and endearing sincerity.
  11. It's All So Quiet
    Ms. Leopold’s previous film, “Brownian Movement,” was a stringent, even off-putting study of a delicate-looking doctor who has secret trysts with various men, and her latest feature feels gentler, shot digitally and suffused with the gray shadows of old houses and dim twilights. But it’s just as concerned with the immediacy of desire.
  12. Ode to My Father
    Little more than an archipelago of historical set pieces linked by a syrupy causeway of sentiment, JK Youn’s Ode to My Father may have slain them in South Korea, but its packaged pain and bullet-point structure are likely to leave Western audiences cold.
  13. La Última Película
    The movie revels in multiple film stocks (with hairs or threads often on the camera lens) and self-conscious “Last Movie” flourishes (long intervals between credits, “scene missing” title cards, a version of “Me and Bobby McGee”) while maintaining its blithe humor.
  14. Valley of Saints
    Valley of Saints finds a poignant humanity in this chaste romance, which awakens in Gulzar a wondrous sense of possibility, along with a new awareness of the world’s complexity.
  15. Something, Anything
    Examining a more generalized discontent through the lens of one woman’s pain, the writer and director, Paul Harrill, concentrates instead on the ordinary details that constitute a life and the way small choices nudge us toward larger ones.
  16. When Evening Falls on Bucharest or Metabolism
    [A] dryly funny, enigmatic new work.
  17. Preservation
    Like his ill-fated hunting party, Mr. Denham’s plans for his thriller don’t turn out quite the way he’d hoped.
  18. The World Made Straight
    The finale, in which blood rivalries are redressed in an absurdly literal manner, fatally strains credulity.
  19. Black November
    There’s a go-for-broke vigor to the way Mr. Amata cuts to the conflict in most scenes, but the heavy-handedness across the board imposes some significant limitations. Mr. Amata, though, pulls no punches with his ending.
  20. Dark Summer
    Despite Mr. Stormare’s valiant efforts, “Dark Summer” (directed by Paul Solet) feels listlessly plotted and insipidly performed.
  21. Predestination
    Mr. Hawke serves as both the narrator and the story’s ballast amid all the woo-woo interludes and disruptions, the puzzle piece you hold and worry about even as the scenery changes and identities shift.
  22. Beloved Sisters
    With its dearth of substance and its wandering focus, this is a middlebrow bodice-ripper posing as an epic that hasn’t the foggiest idea of what it wants to say.
  23. The Taking of Tiger Mountain
    The movie has a nationalistic, didactic flavor and a tiresome devotion to spectacle. Even the climax is staged two ways.
  24. Li'l Quinquin
    The physical beauty of Li’l Quinquin tells me that beneath what could be interpreted as contemptuous misanthropy is a bedrock of stern compassion.
  25. The Search for General Tso
    Mr. Cheney’s movie, while teasing at times, does its celebrating and debunking in mild-mannered fashion, making points without seeming to try to score them.
  26. The Woman in Black 2: Angel of Death
    The director, Tom Harper, seems less interested in allegory than in monotonous, conventional goosing, the kind that involves flickering lights and a creaky rocking chair.
  27. A Most Violent Year
    J. C. Chandor, the writer and director of this pulpy, meaty, altogether terrific new film, and Bradford Young, its supremely talented director of photography, succeed in giving this beat-up version of the city both historical credibility and expressive power.
  28. PK
    Mr. Hirani remains an excellent storyteller, weaving his disparate story strands into a convincing, satisfying whole — a rare Bollywood feat.
  29. Barbecue
    Mr. Wilson’s Antoine is too much of a pill to root for, and the voice-over and wispy songs dribbling over scenes only underline the forgettable filmmaking.
  30. The Interview
    The Interview is pretty much what everyone thought it would be before all the trouble started: a goofy, strenuously naughty, hit-and-miss farce, propelled not by any particular political ideas but by the usual spectacle of male sexual, emotional and existential confusion.
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