The New York Times' Scores

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For 20,313 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: 9,401 out of 20313
  2. Mixed: 8,446 out of 20313
  3. Negative: 2,466 out of 20313
20313 movie reviews
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  1. Police Academy
    The movie plows through one outrageous sequence to the next with the momentum of a freight train.
  2. Tremors
    Tremors wants to be funny, but it spends too much time winking at the audience. More than anything else, it looks like the sort of movie that might have been put together so that tourists visiting Universal Studios could see a movie being made.
  3. After
    After turns out to be working territory that, while emotionally fraught, has already been pretty thoroughly mined.
  4. The Liberator
    Perhaps most impressive are the resources deployed in shooting this production. As if the film’s ostentatious aerial vistas, merely functional scene-writing and score weren’t distracting enough, Mr. Sexton’s dialogue freezes dead any simulation of the period with tone-deaf lines amid Bolívar’s impassioned rhetoric.
  5. 4 Minute Mile
    Most of the movie is a losing proposition.
  6. Video Games: The Movie
    Unfocused and repetitive, this feature-length commercial by Jeremy Snead uses a muddled timeline and bargain basement graphics to produce a horn-tooting, “Aren’t games awesome?” tone.
  7. About Alex
    The insight that social media fosters false intimacy is old news. The film shows only a half-formed sense of how careers have changed in 30 years.
  8. Premature
    Premature bops along with a wiseacre self-awareness and a nimble cast... But Mr. Beers and his fellow screenwriter, Mathew Harawitz, also have a numbing Seth MacFarlane-esque weakness for purely attention-getting crudeness and unfunny stereotypes.
  9. Aftermath
    Essentially, we’re watching dead people refuse to lie down, yet the acting isn’t terrible, and Scott Winig’s photography is satisfyingly bleak and grimy.
  10. Hector and the Search for Happiness
    Mr. Pegg, normally a live wire, makes an affable hero, but the movie often forces him into blandly earnest mugging.
  11. A Five Star Life
    Narratively and emotionally, this weirdly becalmed trifle by Maria Sole Tognazzi ends up almost exactly where it started.
  12. Last Weekend
    Mostly, Last Weekend is an elegiac ode to affluence.
  13. The Young Messiah
    For all the healing here — the revived include a bird, an ailing uncle and a blind man — The Young Messiah performs no miracles.
  14. Rabindranath Tagore: The Poet of Eternity
    The movie is so eager to convince us of Tagore’s greatness as a universal soul (it was Tagore, by the way, who gave Gandhi the name “mahatma,” or great soul) that it fails to give us the man or a clear sense of context.
  15. Clifford the Big Red Dog
    Genuine sweetness can be found in Emily’s fidelity to her rowdy new best friend. Still, naturalism is hard to fake, and it’s difficult to divorce Clifford from the lines of code that animate him.
  16. Paper Towns
    In the end, what makes Q such a deceptively tricky literary creation — his averageness — is the very thing the filmmakers struggle with, partly because movies of this commercial scale and bottom-line ambition rarely know what to do with ordinary life.
  17. The Word
    The Word is never boring, though that has as much to do with the mounting absurdities and ripe acting as it does with the resourceful use of crosscutting by the director, Gregory W. Friedle.
  18. The Transporter Refueled
    The Transporter Refueled is crass and nonsensical, but it is hard to hate a movie in which a medical anesthetic is administered with a nightclub fog machine, the weapons include a ringed life preserver, an escape from a moving plane continues by car onto a jetway and the touch-screen banking software appears expressly designed for double-crossing.
  19. Coldwater
    Proceeding in a tone of unrelieved misery, Coldwater is a punishing, predictable drama that’s almost rescued by strong acting and good intentions.
  20. The Admiral: Roaring Currents
    A turgid, foursquare naval epic.
  21. Saban's Power Rangers
    When the Rangers engage in “Transformers”-lite mayhem, an intriguing group portrait collapses into generic pyrotechnics.
  22. A Merry Friggin' Christmas
    It’s a testament to Williams’s energy that even in an unfortunate part as Virgil, an angry, alcoholic dad, he comes across as the most vivid member of the cast.
  23. Ben-Hur
    Overseen by a director not known for his human touch and lacking a name star, except for Mr. Freeman, Ben-Hur feels like a film made on the cheap, although it looks costly.
  24. Teenage Mutant Ninja Turtles: Out of the Shadows
    This movie is, it happens, easier to sit through than the 2014 film. The 3-D action, overseen by the director Dave Green, is not wholly incoherent. The production values (showcasing new mutants and many gear-heavy extra-dimensional machines undreamed of in any actual engineering philosophy) are ultrashiny. And there are even a couple of amusing, albeit unmemorable, sight gags and one-liners.
  25. Winter in the Blood
    The journey from page to screen may have battered Mr. Welch’s novel, but its lamenting heart beats loud and clear.
  26. Krampus
    Occasionally funny, intermittently scary, but mostly hectic and sloppy, Krampus tries very hard to be a different kind of Christmas movie.
  27. Autómata
    There are interesting ideas here, but they are swallowed up in dull, poorly choreographed shootouts and other action nonsense.
  28. The Damned
    Playing characters with no real substance, the actors struggle to develop a sense of shared peril.
  29. Shadows from My Past
    The issue of national atonement is a sprawling topic, one ill served by the film’s unfocused and amateurish presentation. At times, the movie seems less like a full-fledged documentary than like a pitch session.
  30. Triple 9
    Mr. Hillcoat wears his nihilism easily and persuasively (his films include “The Road”), so his weird bids at mordant comedy feel as forced as they are ill-considered.
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