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. Maya the Bee Movie
    The film’s messages about friendship, acceptance and being yourself are clear enough for the young, and grown-ups can read the story as a warning about conformity and about going to war on false pretenses.
  2. Irrational Man
    The horror of where rationalism can lead (the death camps, for one) hangs over Irrational Man and helps hold you as does Mr. Phoenix, even with some bad writing and Mr. Allen’s narrative laxity and lack of interest in how real people live.
  3. American Ultra
    If you go, expect a diverting summer action adventure with occasional laughs, not a diverting stoner comedy with occasional action.
  4. Barely Lethal
    This isn’t exactly “Fast Times at Ridgemont High”; it’s more like a film version of a TV series you could comfortably let your tweens watch.
  5. The Fate of the Furious
    Zoom, crash, repeat with squealing, burning and flaming tires — it’s all predictably absurd and self-mocking, and often a giggle when not a total yawn.
  6. Natural Resistance
    Mr. Nossiter’s main point is that traditional farming methods have become revolutionary in a country that, we’re told, has grown progressively less agrarian. Mr. Nossiter champions that activism in this mellow, unfocused film.
  7. The Farewell Party
    For all its sensitivity to the subject, The Farewell Party makes a number of tonal missteps of which the most glaring is the insertion of a musical number that upsets the movie’s otherwise sensible balance between the comedic and the morbid.
  8. Two Shots Fired
    The droll, shape-shifting Two Shots Fired, the newest movie from the Argentine filmmaker Martín Rejtman (the subject of a current retrospective at the Film Society of Lincoln Center), accomplishes the strange feat of constantly thwarting expectations without ever varying its tone or moving the needle of excitement.
  9. Louder Than Bombs
    It is possible to admire the craft and sensitivity of Louder Than Bombs without quite believing it. The characters are so carefully drawn that they can feel smaller than life, and the dramatic space they inhabit has a curiously abstract feeling.
  10. Green Room
    Once the violence starts, Green Room settles into horror movie logic, becoming steadily more gruesome and less terrifying as the body count grows. You know some people are going to die, and figuring out who and in what order feels more like a brainteaser than like a matter of deep moral or emotional concern.
  11. Disorder
    Like its hero, Disorder has plenty of technique but not enough purpose.
  12. Uncertain Terms
    While the movie creates an intriguing emotional space in which characters at the end of their ropes can open up, there’s the distinct sense of a missed opportunity.
  13. The Assassin
    The film is intriguing, but ultimately opaque, a lovely, inert object that offers, in the name of movie love, an escape from so much that is vital and interesting about movies.
  14. Yakuza Apocalypse
    Mr. Miike’s narrative model is essentially the Kool-Aid commercials of the 1980s: Periodically, somebody new bursts into the room or onto the street, and a fight or something bizarre takes place.
  15. Land and Shade
    In Land and Shade, the setting holds more interest than the plot: a fable-like, elemental story that sketches its characters too faintly to develop much power.
  16. The Club
    There is power in this vision, but it can also feel forced, almost mechanical.
  17. Runoff
    The movie’s extreme compression is its biggest failing. The business end is so minimally sketched, you are left wanting to know a lot more.
  18. 3 Generations
    Ray is courageous just for making the decision to change sexes. The film — which, by the way, includes a surprising amount of droll humor — would be better if it trusted the audience to recognize this, rather than piling ordeals worthy of the Labors of Hercules onto its protagonist.
  19. Cartel Land
    Mr. Heineman has said that he wanted Cartel Land to feel like a narrative film as much as possible, and to an extent it does. What’s missing is a directorial point of view, including about vigilante groups, the so-called war on drugs, and Mexican and American policies and politics.
  20. The Stranger
    The movie benefits greatly from Mr. Amoedo’s largely steady direction and the uniform acting skills of its Chilean cast (performing in English).
  21. Tentacle 8
    Mr. Chi, making his feature debut with Tentacle 8, lavishes attention on his characters at the expense of the through line binding them.
  22. The Midnight Swim
    The pieces don’t entirely cohere, but Ms. Smith has a promising sensibility.
  23. Stations of the Cross
    As Maria crumples before our eyes, many will find Stations of the Cross heartbreaking and infuriating. Others may laugh out loud at her mother, a walking nightmare of pious, punishing rectitude.
  24. Bonobos: Back to the Wild
    Bonobos: Back to the Wild is an uncomfortable mix of fictionalized account and nature film, but you have to admire the work it documents.
  25. Tap World
    It would be better if it had a bit less proclaiming and a bit more nuts-and-bolts information, but still, it’s refreshing to see people bubbling over with enthusiasm for an art that is somewhat out of the mainstream.
  26. Solo: A Star Wars Story
    It doesn’t take itself too seriously, but it also holds whatever irreverent, anarchic impulses it might possess in careful check.
  27. The Young Kieslowski
    This small, observant movie, directed and written by Kerem Sanga, is the better for not going in predictable directions. A story that you half-expect to turn into a melodrama stays true to the sensibilities of its immature, painfully sincere characters, who are faced with life-changing decisions.
  28. Meet the Patels
    Meet the Patels is a tidy, easygoing documentary in which peripheral players prove more intriguing than its central focus.
  29. Famous Nathan
    The movie is choppy and rushed — a bumper-car ride that somehow fits the rough-and-tumble era it recalls.
  30. Lucky Stiff
    With songs about shoes and dogs, Lucky Stiff couldn’t be sillier, but Mr. Marsh and especially Ms. James make it an enjoyable curiosity for fans of musical theater.
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