The New York Times' Scores

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For 20,336 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: 9,413 out of 20336
  2. Mixed: 8,455 out of 20336
  3. Negative: 2,468 out of 20336
20336 movie reviews
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  1. Unbroken
    What the movie ends up in desperate need of is a sense of life made real and palpable through dreadful, transporting details, not a life embalmed in hagiographic awe.
  2. A Walk in the Woods
    It is unexpectedly moving and occasionally delightful to spend time with these titans of cinema as they walk and sometimes wobble, delivering words that become meaningful because they’re lucky enough to be spoken by Mr. Redford and Mr. Nolte.
  3. Finding Fela!
    The behind-the-scenes component, juiced with razzle-dazzle excerpts from the “Fela!” production, is sound, in theory. But — like many sequences — it’s not so tightly executed, and this strand tends to knock the documentary off balance.
  4. Laggies
    This is a nice movie. It’s frisky and cheerful, even when tears are on the way. But it isn’t a very good movie, mainly because, like its heroine, it’s reluctant to make up its mind about what it wants to be.
  5. White Bird in a Blizzard
    Its elements don’t really cohere.
  6. The Hateful Eight
    Maybe I’m repeating myself: The Hateful Eight is a Quentin Tarantino movie. But Mr. Tarantino is also repeating himself, spinning his wheels here in a way he has rarely done before. None of his other films venture so far into tedium or manage to get in their own way so frequently.
  7. Low Down
    Low Down stumbles into the pitfalls of both addiction narratives and observer-style autobiography, even if Ms. Albany’s memoir suggests even rougher times. But it still catches in-between moments of closeness that aren’t always seen or heard.
  8. Camp X-Ray
    Despite the movie’s gripping performances and the verisimilitude of many elements, I simply don’t believe the story.
  9. Infinitely Polar Bear
    In Infinitely Polar Bear, Ms. Forbes hasn’t made a movie about her father’s illness; she’s made one about her father, who, through hard and weird times, clearly helped give her what she needed so that one day she could tell this story.
  10. Towheads
    The movie is a watchable collection of images that never quite come together.
  11. On My Way
    Because Ms. Deneuve, 70, is in almost every scene, On My Way feels like Ms. Bercot’s loving character study of a star who has always stood above the fray, a symbol of resilient Gallic femininity.
  12. The Art of the Steal
    Matt Dillon and Kurt Russell may not make the most convincing half-brothers, but The Art of the Steal is a fairly amusing heist film with some sibling tension helping the story along.
  13. Teenage
    A lot of intriguing ideas are floated in Teenage... But the film takes a point of view that leaves all of them underdeveloped.
  14. Oculus
    A derivative but efficient chiller that cribs from “Solaris,” “The Shining” and “The Amityville Horror” yet also shows glimmers of imagination.
  15. Cat People
    Miss Kinski and Mr. McDowell are most effective - eerie and damned -and Mr. Heard is stalwart and self-effacing as the mere human who stumbles onto the truth and forever guards the secret.
  16. Breaking the Frame
    Breaking the Frame is a tantalizing teaser for a story that still needs to be told.
  17. Crimson Peak
    The film is too busy, and in some ways too gross, to sustain an effective atmosphere of dread. It tumbles into pastiche just when it should be swooning and sighing with earnest emotion.
  18. The Rover
    There is both too much story and not enough. The contours of this desolate future are lightly sketched rather than fully explained, which is always a good choice. But that minimalism serves as an excuse for an irritating lack of narrative clarity, so that much of what happens seems arbitrary rather than haunting.
  19. Someone Marry Barry
    There’s nothing sophisticated or groundbreaking here, but the movie is a moderately good entry in the bro-grows-up genre.
  20. Mars at Sunrise
    This setup is simple, but what follows is less so: an impressionistic battle between imagination and brute force that too often veers from enlightening to exasperating.
  21. Brick Mansions
    Brawny, dumb and preposterous, it nonetheless comes tantalizingly close to being a high-impact allegory of race, class and real estate in a postindustrial, new-Gilded Age America.
  22. Perfect Sisters
    Ms. Breslin and especially Ms. Henley are quite good, elevating a film that seems like an oft-told tale.
  23. Haunt
    The shocks are short and sharp, the acting is strongest where it counts, and the director of photography, Adam Marsden, washes everything in a swampy green that makes spooks pop.
  24. Two Lives
    Two Lives is an absorbing, well-acted, moderately suspenseful mystery, although its time line of events is fuzzy to the point of impenetrability.
  25. The Cold Lands
    The Cold Lands feels as if it were just taking hold when it reaches the end of the road.
  26. Gunday
    Gunday, directed by Ali Abbas Zafar, may be preposterous, but it’s rarely dull. And when Mr. Khan and Ms. Chopra are on screen it’s something more. It’s downright enjoyable.
  27. River of Fundament
    River of Fundament is often a commanding, engaging and certainly challenging experience. Nevertheless, by the end of the piece I felt deliberately alienated, and to a nearly infuriating degree.
  28. The Den
    Almost every image in this movie — from webcams, websites and laptop cameras — appears on a monitor. Scenes pulse with the Internet’s speed and sprawl, aided by clever editing that pops. The effect is insular, off-putting and disconcertingly familiar.
  29. Xingu
    The movie covers almost three decades choppily. But Mr. Camarago and Mr. Miguel convey the stubborn commitment that made the brothers so revered by the tribes.
  30. The Hidden Fortress
    This is not to say that the action is not vivid, exciting and tense, or that Kurosawa's camera is any less graphic than it usually is. This is simply to say that The Hidden Fortress is essentially a superficial film and that Kurosawa, for all his talent, is as prone to pot-boiling as anyone else.
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