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. Gerontophilia
    Mr. Borden, an acclaimed Canadian stage actor and playwright, turns in a slyly entertaining performance. But the relationship between Lake and Melvyn feels a bit more one-sided than perhaps was intended.
  2. 24 Days
    Mr. Arcady’s reliance on heavy-handed melodrama, on screaming women and on worried-looking men, winds everything so tightly that the anguish plateaus and the characters begin to seem like chess pieces in an argument.
  3. Dirty Weekend
    What’s most curious is Mr. Labute’s kid-glove treatment of the scenario, forgoing real sexual gamesmanship, much less the opportunistic rug-pulling in past films. That baseline of sincerity is refreshing to a point, yet he’s written a fairly weak-tea story of conflicted self-discovery that would make for a mildly engaging evening on the stage.
  4. Storks
    This film, directed by Nicholas Stoller and Doug Sweetland, is a harmless enough way to occupy a youngster for an hour and a half. It’s just not especially rich in extraordinary characters or moments.
  5. Marie's Story
    Though based on a remarkable true story, this clichéd tear-jerker is barely interested in Marguerite’s revolutionary teaching methods, focusing instead on the intensity of her connection to Marie.
  6. The 11th Hour
    Ms. Basinger commits to her disturbed character. But the script (by the director, Anders Morgenthaler) makes Maria’s behavior so reckless — at times, she’s practically begging to be mugged or worse — that we have no chance of sympathizing with her.
  7. The Seven Five
    A movie like The Seven Five has only minor use as a historical document; its principal function is to package gonzo tales of bad behavior into commercial entertainment that plays down the real suffering behind those stories.
  8. Set Fire to the Stars
    Set Fire to the Stars barely skims the surface of characters you wish had been given more dimension, but as a snapshot of postwar academia and its pretensions, it exerts a creepy fascination.
  9. Dark Star: HR Giger's World
    This disordered portrait seems heavily influenced by its equally jumbled setting.
  10. Strangerland
    The progressive wrinkles...are both the fascination and the frustration of Strangerland, which strains credulity with its secrets and revelations to facilitate its surprises.
  11. We Are Your Friends
    The action slowly builds and breaks down, with dance beats kicking in periodically. Not much resonates here; it’s all facile entertainment.
  12. He Named Me Malala
    It only occasionally delivers the kind of unguarded moment that makes you feel as if you’re getting beneath the media image, and it is not at all interested in discussing broader issues raised by Ms. Yousafzai’s fame.
  13. The Nightmare
    While "Room 237" sought evidence for its most outlandish conceits, The Nightmare declines to delve. As the testimonies grow repetitive, the strategy suggests willful ignorance.
  14. Freedom
    Freedom does not remotely approach, say, “12 Years a Slave” in its production values or dramatic impact. But it does offer Mr. Gooding, whose weathered countenance is no longer the exuberantly cherubic face featured in “Jerry Maguire.” In its place is something more interesting: a quiet, rugged and arresting conviction.
  15. Piku
    This movie, as the title suggests, is set up to be Piku’s story: How will she make a life? But the filmmakers let Mr. Bachchan overwhelm the story. Ms. Padukone, an always likable performer, remains in his shadow, just as Piku remains in Bhashkor’s, liberated but without real agency.
  16. L for Leisure
    It is possible to admire Mr. Kalman and Ms. Horn’s ambition and at the same time have no idea what they were trying to achieve.
  17. Childless
    There’s solid acting in Childless, but mostly there are words — torrents of them.
  18. (Dis)Honesty: The Truth About Lies
    Because the film doesn’t begin to explore the wider implications of that loss of trust, its findings don’t add up to more than a sardonic gloss on a provocative subject.
  19. Seeds of Time
    Perhaps it’s a hazard tied to a subject, seeds, which are all about potential, but Ms. McLeod’s film feels naggingly diffuse and insufficiently vivid in evoking diversity.
  20. A Perfect Day
    A serviceable, watchable movie.
  21. Sunset Edge
    The film uses nonprofessional actors and has a good eye, but more story development and fewer lingering shots of the trash-strewn trailer park would have been an improvement.
  22. Patch Town
    While the results are more creepy than charming — too childish for adults, though not necessarily too dark for children — it is hard to fault Mr. Goodwill for trying.
  23. We Are Still Here
    We Are Still Here will make you scream and make you laugh, and possibly leave you speechlessly gesticulating at a charred zombielike ghost in the background. But the peak moments are too few.
  24. Glass Chin
    Despite an appealing fondness for New York locations and habits, Mr. Buschel and his cinematographer, Ryan Samul, have embalmed their film in style. J. J.’s ostentatious speeches feel like a projection of self-conscious cleverness, and the film’s virtuoso lighting doesn’t always match up to the needs of a scene.
  25. Chagall-Malevich
    It’s a literally colorful and playful attempt to portray battlefields of artistic ambition and political struggle. But its dialogue and characters are also written as subtly as a radical manifesto.
  26. Meet Me in Montenegro
    Though Mr. Holdridge and Ms. Saasen feel genuine, they lack acting chops, and their screenplay’s self-consciousness about romantic clichés plays like a cliché itself.
  27. Hamari Adhuri Kahaani
    The movie may suffer from a surfeit of excesses, but it does have arresting, if overwrought, things to say about domestic abuse in India.
  28. Pitch Perfect 3
    With a plot as unfocused as its freshly graduated characters, the shaggy Pitch Perfect 3 gets by on karaoke logic: What makes for a good time isn’t the song you sing, but the company you keep.
  29. Hippocrates: Diary of a French Doctor
    Hippocrates unfolds pretty much like an average episode of “ER,” though with more French flag waving and less storeroom romancing.
  30. Evaporating Borders
    Despite the urgent subject matter and lyrical touches, it’s a film that needs further layers of complication and texture.
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