The New York Times' Scores

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For 20,335 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: 9,412 out of 20335
  2. Mixed: 8,455 out of 20335
  3. Negative: 2,468 out of 20335
20335 movie reviews
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  1. Faith Connections
    Mr. Nalin applies an on-the-ground approach, mainly looking at holy men and lost boys at the gathering. But he lets the sprawl slacken his overlong film’s grasp and, strangely, underplays the nuances of the event’s spiritual aspects.
  2. Now You See Me 2
    Everything is supersized and preposterous, but Mr. Chu, with two films in the “Step Up” franchise under his belt, is undaunted by crowds and confusion.
  3. Burying the Ex
    The movie’s snap and affection put other recent zombie-related entertainments to shame, and the in-jokes...are a Dante signature. But the freedom of the director’s best work is missing.
  4. Cake
    It’s the sort of well-intentioned independent effort that can make criticism feel like overkill. There’s nothing to hate, nothing to love. The movie’s greatest virtue is that it gives Ms. Aniston a little room to play against the somewhat sardonic tough-cookie type that she deploys in vulgar comedies.
  5. The Keeping Room
    Mr. Barber can work up a fair sense of menace, but he seems to have directed most of the talented cast to speak their lines in a mannered fashion learned from other movies.
  6. A Little Chaos
    Mr. Schoenaerts’s dour André may make conceptual sense, but he leaves a hole in this handsomely mounted costume drama that would have profited from more intrigue and a steamier erotic atmosphere.
  7. Madame Bovary
    What wildness there is in this Madame Bovary belongs to Ms. Wasikowska, an actress who is frequently more interesting than her material.
  8. The Woman in Black 2: Angel of Death
    The director, Tom Harper, seems less interested in allegory than in monotonous, conventional goosing, the kind that involves flickering lights and a creaky rocking chair.
  9. Black or White
    Mike Binder’s steady, well-intentioned exploration of the racial tensions affecting two branches of a Southern California family, is notable for what it doesn’t try to do.
  10. Beloved Sisters
    With its dearth of substance and its wandering focus, this is a middlebrow bodice-ripper posing as an epic that hasn’t the foggiest idea of what it wants to say.
  11. Hollidaysburg
    Hollidaysburg is a pleasant if unremarkable coming-of-age film.
  12. Print the Legend
    The movie’s biggest entertainment, however, is not the market-share rivalry between MakerBot Industries, in Brooklyn, and the younger Formlabs, in Boston, but its fearless dive into dweeb-culture head space.
  13. Last Hijack
    This film could have been more surely and deftly put together.
  14. Black Sea
    The story loses credibility as it goes along, as the body count escalates, and Robinson’s solutions to life-and-death crises grow increasingly far-fetched.
  15. Default
    The film is stronger with its moment-to-moment tension than with its cynical, shallow media satire.
  16. Inferno
    Part of the draw of these movies is that they don’t create beauty, but instead borrow the emotions of the beauty they depict. (This, more or less, is one definition of kitsch, courtesy of the philosopher Tomas Kulka.) That makes the movies easy to watch and easy to forget.
  17. The Hacker Wars
    Ms. Weisman offers a deluge of information. But for those not already versed in the lingo or the people involved, the movie plays like a blurry primer to an anarchic, mysterious world.
  18. Algorithms
    The movie is an object lesson in how a remarkable subject can be turned into a less remarkable film.
  19. Life Inside Out
    This low-key drama so insistently resists epiphanies that it verges on bland.
  20. The Night Before
    The emotional moments don’t pay off any better than most of the jokes, which reach for the safest kinds of provocative punch lines having to do with sex, race and religion.
  21. E-Team
    A documentary that purports to chronicle the sober and urgent work of those who ferret out human-rights abuses, but instead plays like a portrait of a rather glamorous marriage.
  22. Viva la Libertà
    Roberto Andò's Viva la Libertà wobbles between being wispily suggestive of finer existential meaning and generational commentary, and being basically a handsomely dressed-up “Dave” for post-Berlusconi Italy.
  23. Zero Motivation
    Everything looks authentic, at least on the surface, from the desert dust to the messy desks and the sad, barren barracks. The characters, however, are largely cartoons, and their day-to-day exchanges are as vaguely defined as their interior lives.
  24. Avengers: Infinity War
    Where you end up may not be where you thought this was going. The final act, including the post-credits sting (to infinity and beyond, as it were) brings a chill, a darkness and a hush that represent something new in this universe.
  25. The Tower
    In its stunted theatrical version, the second half is a sketchy digest of events that leaves you feeling cheated.
  26. West
    West, for all its intensity, becomes too bogged down in detail to be as strong as it might have been.
  27. Getting to the Nutcracker
    This is a sympathetic, even sweet, account, but it’s too soft.
  28. Thou Wast Mild and Lovely
    The setup’s clichés grow harder to ignore, despite a welcome mischievous streak and some bucolic imagery.
  29. Delusions of Guinevere
    This low-budget film is often static and awkward... Smaller scenes, though, like those when Guinevere interacts with her tough-minded lawyer of a sister or an old classmate from high school, have a realness to them.
  30. We Are the Giant
    We Are the Giant builds up quite a rhetorical head of steam, but it doesn’t try to analyze the conflicts it observes or to fill in the history, except in the broadest sense of placing these uprisings on a list of rebellions that stretch back through millenniums.
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