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. Getaway
    The glimmers of wit and carnival humor in the “Fast & Furious” franchise are nowhere to be found in Getaway.
  2. Closed Circuit
    The director, John Crowley, handles Steve Knight’s snaky script capably, introducing the characters, their backgrounds and the political stakes in bold strokes.
  3. Tokyo Waka: A City Poem
    The film is a short, nimble consideration of the collision between the wildness of nature and the orderly bustle of modern urban life. It is also an essay on ornithology, Japanese culture and the challenges of pest control.
  4. The United States of Football
    The film is a thorough piece of reporting on the issues, characters and deeper cultural ramifications. But rather than present this impressive investigation as an objective reporter, Mr. Pamphilon makes the film, perhaps unnecessarily, a personal story.
  5. Una Noche
    For all its flaws, the movie, filmed with nonprofessional actors, is steadily gripping.
  6. Scenic Route
    An awkward, long-winded mash-up of therapy session, horror movie and survival tale with pretensions of psychological depth.
  7. The Frozen Ground
    The movie’s only fresh element is the wintry setting, which shrouds everything in a mood of weary fatalism. Otherwise, it’s the same old, same old, efficiently discharged and utterly disposable.
  8. Sparrows Dance
    Mr. Buschel, armed with an ear for diverting dialogue and actors who know how to sell it, somehow makes it all work.
  9. Savannah
    The film’s tale ends up being less rich than its lovely Georgia settings.
  10. Paradise: Faith
    Like it or not, Paradise: Faith sticks in your head. The fierce, indelible performance of Ms. Hofstätter, a regular in Mr. Seidl’s films, may make you cringe with revulsion, but it is utterly riveting.
  11. Thérèse
    Mr. Miller’s stolid approach — with its waxwork figures, postcard beauty, insistent tastefulness and glaze of politesse — feels far too comfortably of this world to mount a critique of it.
  12. The Trials of Muhammad Ali
    The film falls short of explaining Mr. Ali, who, like many outspoken individuals, can stubbornly repel scrutiny, nor will it pacify the many who opposed his conscientious objections. But it also underlines one enduring quality: namely, that he probably couldn’t care less what people think.
  13. Devil's Pass
    The film is ridiculous and laugh-out-loud funny, though it’s sometimes hard to tell if this is intentional or not. Either way, it remains riveting because of its effective tropes.
  14. Drinking Buddies
    Drinking Buddies, Joe Swanberg’s nimble, knowing and altogether excellent new film, refuses to dance to the usual tune.
  15. The Grandmaster
    The Grandmaster is, at its most persuasive, about the triumph of style. When Ip Man slyly asks “What’s your style?” it’s clear that Mr. Wong is asking the same question because here, as in his other films, style isn’t reducible to ravishing surfaces; it’s an expression of meaning.
  16. You're Next
    Adam Wingard’s You’re Next strays just enough from formula to tweak our jaded appetites. That it does so without spraying the gore to geyserlike excess says a great deal about Mr. Wingard’s sensibility.
  17. Short Term 12
    Even as the gathering melodramatic storms threaten to swamp this pungent slice of life, Mr. Cretton manages to earn your tears honestly.
  18. The World's End
    The buzz of The World’s End is more like an antic sugar high than a reeling, drunken stupor. There are no headaches, dry mouth or crushing shame at the end — no “Hangover,” in other words. I’ll drink to that.
  19. The Student
    Pitched somewhere between allegory and documentary, the film looks at its characters in a dispassionate, almost deadpan way. They’re something more than specimens under glass but something less than fully rounded people.
  20. The Mortal Instruments: City of Bones
    Too much of the film feels like shorthand, a trail of teasing crumbs to lead us to the inevitable sequels.
  21. Old Cats
    You understand the different ways the members of this extended family are trapped, in physical space and in psychological patterns they don’t fully understand. But you also realize that, like house cats that venture to the door to sniff at the air outside, they don’t necessarily want to be free.
  22. Once Upon Ay Time in Mumbai Dobaara!
    Poor pacing and editing result in a lack of transition between scenes; poignant moments are punctuated with distracting music; and the dialogue is overstuffed with platitudes that land like corny messages from fortune cookies.
  23. The Happy Sad
    The actors are so relaxed and personable that the film’s occasional glibness — and its over-reliance on coincidence to further the cross-pollinating narrative — is easy to let slide.
  24. Herblock: The Black & the White
    It’s fortunate that the cartoons on display are such instantly satisfying works of popular genius, because, despite its subject, “Herblock” shows how even an edifying talking-heads documentary bumps up against the limitations of the format.
  25. Drew: The Man Behind the Poster
    At length, the cheerleading...becomes a mildly taxing torrent. And Mr. Struzan, while an agreeable presence, is not an especially engrossing speaker. But then there is his artwork, an essential aid to the movies — and often their superior.
  26. You Will Be My Son
    [A] beautifully acted movie.
  27. Jobs
    The Great Man theory of history that’s recycled in this movie is inevitably unsatisfying, but never more so when the figure at the center remains as opaque as Jobs does here.
  28. Spark: A Burning Man Story
    Since we can’t all attend Burning Man, we can be thankful for “Spark,” which is probably the next best thing.
  29. Inch'Allah
    Grim, intelligent and vividly photographed by the director’s father, Philippe Lavalette, Inch’Allah works best when the camera alights on Ava and Rand, whose marvelously mobile faces convey all the complexity that Chloe lacks.
  30. Austenland
    Advancing without a single original idea or surprising moment, Austenland seems torn between poking fun at the British and lampooning Austen’s many American fanatics — a riskier enterprise, considering that they’ll be needed to fill theater seats.
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