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. Second Opinion: Laetrile at Sloan-Kettering
    Having a mild-mannered writer tell this story by sitting in a chair in front of some pretty art in a house museum and just talking seems lackadaisical, but Mr. Moss’s message is clear, shrewdly edited and peculiarly interesting.
  2. Life of Riley
    Life of Riley is neither especially profound nor riotously funny. An element of caricature is palpable in the performances but restrained.
  3. Thunder and the House of Magic
    The story is unremarkable, but its execution zings.
  4. The Nice Guys
    This is a dumb movie pretending to be smart, even as it wants you to believe the opposite. Still, dumb can be fun.
  5. The Rewrite
    That Mr. Grant can bring Keith back from the edge more or less persuasively is a testament to his ability to convey genuine humility without mawkishness, once he sees the light.
  6. Alumbrones
    Short and sweet and limited.
  7. Still Alice
    The test of realism in a movie like this — the thing that would separate it from a conventional, made-for-television disease melodrama — is whether you can imagine lives for the secondary characters when they aren’t on screen. Still Alice lacks that kind of thickness.
  8. Fort Bliss
    Ms. Myers too often tells rather than shows, and she doesn’t have the cinematic skill set to transform her idea into a fully satisfying movie, especially at this low-budget level.
  9. Iceman
    Best of all, Mr. Law doesn’t skimp on wide-screen compositions; this is one movie designed for the theater, not the couch.
  10. Scouts Guide to the Zombie Apocalypse
    It’s all too dumb and ribald for most tastes, but if you liked all the zombie comedies that came before, well, here’s another one.
  11. Kong: Skull Island
    “Skull Island” has momentum, polish and behemoths that slither and thunder. The sets and creature designs are often beautifully filigreed, but the larger picture remains murky.
  12. Asmodexia
    If the twisty finale underwhelms, Mr. Carreté’s enigmatic style and textured images offer their own doomy rewards.
  13. The Heart Machine
    This New York drama in some ways finds new names for age-old insecurities among men and women, though it doesn’t entirely deliver on its promising buildup.
  14. The Decent One
    The voice-over-driven readings and the illustrative footage — unwisely augmented with new sound effects — lack a fundamental filmic momentum.
  15. The Culture High
    Some of this seems like stoner’s paranoia, and some of the film’s talking heads, mainly comedians, don’t make the best advocates. Over all, though, its experts... argue forcefully for decriminalization.
  16. The Innocents
    Mr. Clayton and Miss Kerr have neglected to interpret the tale and character with sufficient incisiveness and candor to give us a first-rate horror or psychological film. But they've given us one that still has interest and sends some formidable chills down the spine.
  17. I Am Ali
    There’s so much great vintage footage of Ali... and he’s so charismatic, it would be hard to watch the movie and not take something from it.
  18. Khoobsurat
    Anne Hathaway made a splash in Disney’s “The Princess Diaries,” and the rangy Ms. Kapoor (who descends from a Bollywood dynasty) shares some of her early incandescence, along with a Julia Roberts-like smile.
  19. Summer of Blood
    It’s all mellowly funny rather than creepy, something like a stand-up conceit elaborated into scenes.
  20. Relationship Status: It's Complicated
    Mr. Payet, who is one of the film’s directors and screenwriters, is a comedy star in France, and this movie is facile with its comic rhythms and dramatic flow.
  21. The Golden Era
    This tribute is overlong and too reverent, conveying little sense of Xiao Hong the person and even less of her talent.
  22. Dying of the Light
    The notion of an undercover agent with an untrustworthy mind is a great gimmick — and on a commercial level, Dying of the Light sometimes plays as just another high-concept vehicle for a comically overacting Mr. Cage. But Mr. Schrader’s vision is strong enough to rage against the hackier calculations.
  23. Suicide Squad
    Suicide Squad is a so-so, off-peak superhero movie. It chases after the nihilistic swagger of “Deadpool” and the anarchic whimsy of “Guardians of the Galaxy” but trips over its own feet.
  24. Guardians of the Galaxy Vol. 2
    It’s tough being a hitmaker who isn’t weighed down by corporate expectations, but for a while, Mr. Gunn does a pretty good job of keeping the whole thing reasonably fizzy, starting with an opener that winks at the audience with big bangs and slapstick.
  25. The Flash
    I liked The Flash well enough while watching it. But thinking and writing about it and everything that has gone down has been dispiriting — real life has a way of insinuating itself into even better-wrought fantasies.
  26. Point and Shoot
    [An] incisive, queasy-making documentary.
  27. The Finest Hours
    The Finest Hours is a moderately gripping whoosh of nostalgia that shamelessly recycles the ’50s cliché of the squeaky-clean all-American hero.
  28. Death Metal Angola
    The concert itself was a bold, life-affirming project, but with a couple of additional extended music sequences, Mr. Xido’s film might have been more powerful and way more hardcore.
  29. The Invisible Front
    This film, somewhat clumsy yet full of illuminating interviews, seems mostly like an exercise in building national pride, but it holds lessons for anyone trying to resist an overwhelming force.
  30. Beside Still Waters
    Bathed in a nostalgic glow that just avoids maudlin, the group’s problems — a sexless marriage, an unexpected job loss — bark but don’t bite. Scenes flirt with cliché, yet the writing has spark.
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