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. In the Name of My Daughter
    Mr. Téchiné ’s methodical storytelling covers more narrative ground than the drama requires, sapping the film’s energy.
  2. Alien Nation
    Eventually, though it happens later rather than sooner, the conventional aspects of Alien Nation overwhelm the novelty.
  3. Baby Boom
    Baby Boom isn't much more than a glorified sitcom, but it's funny, and it's liable to hit home. The reason: a devilishly good performance by Diane Keaton.
  4. Before You Know It
    There’s much sympathy but little tension in P J Raval’s new documentary.
  5. Nothing in Common
    As long as the story stays with David's wooing of the big Colonial Airlines account and the company president's tough-minded daughter (Sela Ward), a good time is to be had. But in the last half-hour, everybody starts to slobber.
  6. Timecop
    Years of tireless persistence have begun to work in Mr. Van Damme's favor. It's hard not to enjoy his energy, even if his acting gifts still leave a lot to be desired. The fact is that he looks good, behaves affably and kicks with gusto, which is quite enough to satisfy the demands of Timecop.
  7. Filmistaan
    Teetering somewhere between audacious and offensive, the stylistically voracious Filmistaan only intermittently reveals any sense of danger in its comedy.
  8. Holiday
    The action sequences mostly have tension and punch, even if the movie is old-school long — 2 hours 41 minutes — and the plot doesn’t bear too much scrutiny.
  9. Straight Outta Compton
    The partying is as bland as any all-purpose music video and feels more like another script signpost (and audience-pandering) than a serious attempt to get out what it means to be young, black, gifted, fabulously wealthy and much desired. Mr. Gray does far better when the story edges into heavier, more dappled realms.
  10. K2: Siren of the Himalayas
    Shedding light on the filmmaking process would have only enriched this well-wrought but limited extreme-sports portrait.
  11. Postman Pat: The Movie
    Viewers unencumbered by nostalgia will probably see this zippy, occasionally funny movie as no more frantic or pop-culture-addled than the average multiplex fodder.
  12. Road to Paloma
    The film’s loose naturalism and strong acting — Chris Browning, as a liaison between the F.B.I. and the reservation, is especially enjoyable — are slyly seductive.
  13. A Master Builder
    As both an actor and a playwright, Wallace Shawn, at his most audacious, goes for the jugular, but in sneaky roundabout ways.
  14. Web Junkie
    The film lacks either the immersive intensity that would galvanize emotions or a context that would provide enlightenment. Its brief tour of an unpleasant corner of reality feels less revelatory than voyeuristic.
  15. Underwater Dreams
    Modest yet meaningful, Underwater Dreams has a political point of view, shining light on underground Americans who deserve recognition.
  16. I'm the Same, I'm an Other
    The newer film’s picture of neglect and denial, with flashes of connection and empathy, is promising, if tough to inhabit.
  17. Silence
    The film’s solemnity is seductive — as is Mr. Scorsese’s art — especially in light of the triviality and primitiveness of many movies, even if its moments of greatness also make its failures seem more pronounced.
  18. Horns
    There are so many red herrings and plot twists, such a dense barrage of flashbacks and quick cuts, that you may find yourself as rattled and breathless as Ig himself. And a bit let down at the end, when all the noise, color and energy resolve into a basic whodunit decked out in weak special effects and spiritual swamp gas.
  19. Pump
    The movie goes beyond alarmism with solutions that on the surface would seem to find common ground between environmental advocacy and unfettered capitalism.
  20. Escobar: Paradise Lost
    Nick might usurp most of the screen time, but it’s Mr. Del Toro, face flickering from benevolent to vicious and body heaving with literal and symbolic weight, who seizes the film.
  21. Drunktown's Finest
    The screenplay tracing the characters’ struggles has a tidy, workshopped feel, and the dialogue and acting can be gratingly flat. But what gives the film a certain confidence is its cultural specificity and the fresh clashes and contrasts it presents.
  22. My Old Lady
    As the truth tumbles out, the dialogue and the carefully timed revelations make My Old Lady seem increasingly stagy. But the performances go a long way toward camouflaging the screenplay’s clunky mechanics.
  23. May in the Summer
    The hand-wringing and revelations are familiar from many wedding movies, but May in the Summer gains added potency from its cross-cultural tensions and the drama the characters face in reconciling tradition with modern life.
  24. The Maid's Room
    The Maid’s Room has much to recommend, including the versatile Mr. Camp (“Tamara Drewe,” “Compliance”) in a Machiavellian role. But it doesn’t marshal its twists toward a convincing or satisfying conclusion.
  25. 14 Blades
    While 14 Blades grinds on perhaps a half-hour too long, its ambitions and energies show that for a fresh take on the western, go east.
  26. The Disappearance of Eleanor Rigby: Them
    As a whole, it doesn’t quite work, but the parts — particular moments, observations and insights about the way people behave and perceive themselves — are frequently excellent.
  27. American Sniper
    Less a war movie than a western — the story of a lone gunslinger facing down his nemesis in a dusty, lawless place — it is blunt and effective, though also troubling.
  28. The Man from U.N.C.L.E.
    Mr. Ritchie tends to flaunt his wares like a store clerk, fawning over the clothes, chairs and cars, and his usual rabbity pace slows to a tortoiselike crawl whenever the actors deliver a lot of words, which gratefully isn’t often. His talent, as he proves repeatedly, is making bodies and cars crash through space.
  29. The Croods: A New Age
    Paradoxically, the movie’s energy ebbs as the proceedings turn more antic.
  30. McFarland USA
    Aims to be rousing rather than revelatory, and it mostly succeeds.
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