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. Ilo Ilo
    This remarkably terse movie doesn’t waste a word or an image. It refuses to linger over each little crisis its characters endure. And its detachment lends a perspective that widens the film’s vision of people reacting to events beyond their control.
  2. Flex Is Kings
    Because of the rote and typical way of organizing a dance movie around a contest, the pace and interest lag even though the images and characters are fascinating. Yet the film is worth watching because of the strong cinematography and the glimpses of strange beauty in the dance moves.
  3. Under the Skin
    The movie’s eerie, climactic image challenges our conventional notions of human identity and leaves us reflecting on the possibility that every being in the universe is an alien in disguise.
  4. Captain America: The Winter Soldier
    Given how little creative wiggle room there is in properties like The Winter Soldier, it’s a minor triumph that the Russos imprint any personality on the movie, which is less a stand-alone work than a part of an ever-expanding multimedia enterprise.
  5. 10 Rules for Sleeping Around
    A sex comedy can sometimes get by, even if it is deficient in one of the two things that term promises. But a sex comedy that is short on both sex and comedy is unlikely to please anyone.
  6. The Unknown Known
    The film is a cat-and-mouse game in which each player thinks he’s the cat, making it both thrilling and disconcerting to watch. It is also a nature documentary about behavior at the very top of the imperial food chain and a detective story about the search for a mystery that is hidden in plain sight.
  7. The Retrieval
    Mr. Eska’s choices are thoughtful if sometimes studied: the movie is well cast with solid performers, and if the handsome digital images look overly sharp, as if outlined in razor, he consistently makes the most of his limited resources.
  8. Dom Hemingway
    Dom Hemingway is a bright, shiny bauble with next to no lasting power.
  9. Go Down Death
    Rather than distressed retro photography, or Guy Maddin mash-up fantasias, the movie’s often deadpan episodes feel like something out of one-act theater
  10. Jews of Egypt
    Mr. Ramses’s admirable eagerness to tell a good tale seems to have favored excitement over facts.
  11. Greencard Warriors
    At first, there is something a little too straightforward about the characters and their dialogue. But gradually, a group of strong, sure performances and the script’s twists... take hold, and we are fully involved.
  12. Nothing Without You
    Even if we can get past unlikely details (like a mental institution that allows patients to play with scissors), the drab locations and dull performances suck the air out of a story (by Mr. Irving and Rick Santos) that’s every bit as troubled as its unappealing heroine.
  13. Blumenthal
    Sharp yet overdetermined, Blumenthal doesn’t breathe naturally — it’s a comedy in a box. Just not a box that everyone will want to open.
  14. Cheap Thrills
    This is dark comedy indeed, and if viewed as such, it works deliciously.
  15. The Raid 2
    The pleasant surprise of Gareth Evans’s sturdy sequel to “The Raid: Redemption” is that neither its undercover drama nor its two-and-a-half-hour length bog down the bracing, and numerous, fight fests.
  16. Refuge
    Jessica Goldberg, who wrote and directed the film, prefers showcasing the somewhat treacly soundtrack to fleshing out back stories.
  17. Mistaken for Strangers
    A tale of two brothers, one band and a boatload of psychological baggage, Mistaken for Strangers is, like its maker, scruffy, undisciplined and eager to be loved. The big surprise is how easy it is to comply.
  18. Breathe In
    What distinguishes Breathe In from countless similar movies about marital discontent and disruption is the restraint with which the story is handled, the subtlety of its performances and its almost perverse refusal to turn into a prurient, heavy-breathing examination of adultery and its consequences.
  19. Hide Your Smiling Faces
    As the local boys (there are no girls) explore the natural world in summer, this gorgeously photographed movie bombards you with imagined scents of ripeness and decay.
  20. Finding Vivian Maier
    The film, which [Mr. Maloof] directed with Charlie Siskel, is absorbing, touching and satisfyingly enjoyable because Maier was a fascinating, poignant and somewhat enigmatic woman.
  21. Sabotage
    Sabotage isn’t any good, even if its jagged, jolting visual excesses and frenzied energy keep you awake, gasping and guffawing by turns.
  22. Cesar Chavez
    What the film struggles to depict, committed as it is to the conventions of hagiography, is the long and complex work of organizing people to defend their own interests. You are invited to admire what Cesar Chavez did, but it may be more vital to understand how he did it.
  23. Noah
    Mr. Aronofsky’s earnest, uneven, intermittently powerful film, is both a psychological case study and a parable of hubris and humility. At its best, its shares some its namesake’s ferocious conviction, and not a little of his madness.
  24. Brothers Hypnotic
    The fearless streak displayed by the Hypnotic Brass Ensemble deserves its equivalent in a bolder movie technique. But Mr. Atlas delivers a rousing finale.
  25. Stay
    The movie, admirably shot on location, has a cast that is nonetheless directed without much verve by Wiebke von Carolsfeld. The film was adapted from a novel by Aislinn Hunter, but the characters’ inner lives remain elusive.
  26. Rob the Mob
    Vividly painting Queens in the early 1990s as a landscape of crack and graffiti, the filmmakers go on to smother any menace with a swoony-upbeat soundtrack and an “oh, those kooky kids” tone.
  27. The French Minister
    Mr. Tavernier’s filmmaking here is loose, almost casual, and you may not always notice what he’s doing with the camera as he frames the ministry’s choreographed chaos with its whirling people and parts.
  28. Blood Ties
    There are some very good performances and parts of performances in Blood Ties, but the movie fails to convey a sense of tribal identity within this world.
  29. McCanick
    The dour McCanick banks way too much on what it is not telling us, making for a movie that thinks it’s being cryptically suspenseful but is really just annoying.
  30. Awakened
    It’s a poorly acted grab bag of shopworn ideas and hyperbolic behaviors that not even Ryan Murphy could translate into entertainment.
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