The New York Times' Scores

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For 20,311 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: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
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  1. Killing Season
    It’s not worthless, but it’s not good. As a genre film, it’s too ambitious; as an art film, it’s too obvious.
  2. Rushlights
    When it comes to film plotting, too many twists just result in an annoying tangle. And there are too many twists in Antoni Stutz’s uninvolving Rushlights.
  3. Fifty Shades of Grey
    Fifty Shades of Grey might not be a good movie — O.K., it’s a terrible movie — but it might nonetheless be a movie that feels good to see, whether you squirm or giggle or roll your eyes or just sit still and take your punishment.
  4. Terminator Genisys
    It’s amusing to see identical Arnolds clash like titans, but nobody here seems to have fully grasped that they had another heavyweight in Mr. Clarke.
  5. Adore
    One of the things that makes Adore, which was written by Christopher Hampton, hard to take seriously is how seriously it takes itself, how utterly purged of humor or credible human complication the drama at its center turns out to be.
  6. Hell Baby
    The film, written and directed by Robert Ben Garant and Thomas Lennon, rarely dares to be smart, settling instead for familiar gags that would have the Devil himself yawning.
  7. Of By For
    If the lineup is bipartisan, the analysis oscillates between apt and obvious, culminating inevitably in amen calls for popular action.
  8. Pawn Shop Chronicles
    "Hee Haw” meets “Pulp Fiction” at the meth lab: That describes the style of Pawn Shop Chronicles, a hillbilly grindhouse yawp of a movie that belches in your face and leaves a sour stink.
  9. The Artist and the Model
    It is a film with nothing but delight — no major revelations, no gravity and no meaning. This superficiality is a problem only because of the pretense of being about great art.
  10. The Judge
    Various secrets come dribbling out... They add up to a sprawl of narrative that is as unconvincing as the suspiciously sprawl-free, nostalgia-tinged town where it all takes place.
  11. Paradise
    Like much of Ms. Cody’s work, Paradise plays out in quippy sound bites, only this time they feel entirely unsuited to Lamb’s sheltered background.
  12. A Teacher
    Long on atmosphere and short on believability.
  13. The Ultimate Life
    The Ultimate Life is hampered by a predictable story, stereotypical characters and wooden acting.
  14. Winnie Mandela
    The movie plays like a made-for-television quickie.
  15. A.C.O.D.
    A.C.O.D., an unfunny comedy about a guy mooning over his parents’ divorce decades later, is so eager to please it’s hard to hate. But it’s sluggish even at 87 minutes, clichéd and gives you nothing of interest to look at other than some familiar faces.
  16. Zaytoun
    In grabbing for the heart this one-size-fits-all fable sadly ignores the mind.
  17. The Muslims Are Coming!
    This well-intentioned “docu-comedy” (as the filmmakers label it in publicity notes) is not very funny.
  18. To Be or Not to Be
    In a spirit of levity, contused by frequent doses of shock, Mr. Lubitsch has set his actors to performing a spy-thriller of fantastic design amid the ruins and frightful oppressions of Nazi-in-vaded Warsaw. To say it is callous and macabre is understating the case.
  19. Ass Backwards
    The film, a comedy without much comedy in it... clumsily tries to merge road trip humor and beauty pageant parody.
  20. McCanick
    The dour McCanick banks way too much on what it is not telling us, making for a movie that thinks it’s being cryptically suspenseful but is really just annoying.
  21. Grace Unplugged
    Feels like a religious tract more than a movie.
  22. Stonehearst Asylum
    This shockingly flabby effort from Mr. Anderson — who, in features like “The Machinist” (2004) and “Session 9” (2001), showed a much surer hand with oppressive atmospheres and troubled psyches — feels as nutty as its characters.
  23. Addicted
    The actors are uniformly handsome and mostly serviceable, though the same can’t be said about the filmmaking or the writing.
  24. Maggie
    Zombies, Arnold Schwarzenegger and a certain Terrence Malick je ne sais quoi — what could go wrong? More or less everything in this low-budget head-scratcher and periodic knee-slapper.
  25. Big Ass Spider!
    The director, Mike Mendez, shows no signs of knowing how to make campy horror work the way that the creators of similar movies on Syfy do. It has to be either subtle or over the top. This is neither.
  26. Capital
    Its indictment of capitalism is so shrill and one-note that it may just as easily set off fits of giggling, because its characters are so ridiculously evil.
  27. I'm in Love with a Church Girl
    This is a message film with the narrative sophistication of a recruiting pamphlet.
  28. Last Love
    This dull, dawdling film, adapted from Françoise Dorner’s novel “La Douceur Assassine,” eventually succumbs to sentimentality.
  29. Son of God
    Son of God may have hit the mark if part of the goal was to create a portrait flat enough to allow audience members to project their own feelings onto the screen.
  30. Immigrant
    In the end, the filmmaker’s message is nearly lost in this poorly constructed film.
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