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. Angels Sing
    It’s as thinly written and unoriginal as made-for-television seasonal filler, and why it isn’t on the Hallmark Channel or Lifetime is a mystery, but fans of the singers in it might get a kick out of seeing them.
  2. Nurse 3D
    Nurse 3D isn’t nearly as fun as a movie about a homicidal, sex-obsessed, clothing-averse health care provider ought to be.
  3. Speciesism: The Movie
    A painfully gauche, galumphing attack on factory farming, meat eating, animal experimentation and human supremacy.
  4. The Truth About Emanuel
    The film never finds its dramatic footing. Nor, sadly, its common sense.
  5. Caught in the Web
    A messy collision of strained portrayals, semi-comic incidents and tear-jerking tactics.
  6. Sex, Love & Salsa
    For a romantic comedy that doubles as a mockumentary, it can be downright creepy.
  7. Fantastic Four
    This Fantastic Four, directed by Josh Trank from a script he wrote with Simon Kinberg and Jeremy Slater, feels less like a tale of superhero beginnings than like a very long precredit opening sequence.
  8. Sabotage
    Sabotage isn’t any good, even if its jagged, jolting visual excesses and frenzied energy keep you awake, gasping and guffawing by turns.
  9. Summer in February
    Picturesque seascapes are about the only thing to recommend in Summer in February.
  10. Regression
    The movie is ultimately a tepid and frustrating experience.
  11. Gimme Shelter
    The film is more of a pageant than a convincing drama. It’s so determined to deliver its moral that it loses its grip on the reality of its characters.
  12. This Is Where I Leave You
    There is almost nothing here that you haven’t seen a dozen times before, and even the surprises feel flat and familiar. More dispiriting still is that this drab complacency is wrapped around messages of daring, honesty and spontaneity.
  13. Merry Christmas
    One of those who’s-the-murderer parlor games is a plot pillar of Merry Christmas, an experiment in filmmaking by Anna Condo that itself feels like a parlor game, and not a particularly entertaining one.
  14. The Wedding Ringer
    Mr. Hart tells wild tales, Mr. Gad is humiliated, and most everyone else gets to dish out or receive abuse. But the laughs are not a sure thing.
  15. Bullett Raja
    If Bullett Raja had more spark, it might be fun to contemplate its barely hidden crisis-of-masculinity subtexts.
  16. Night Train to Lisbon
    After barely stirring to life, Night Train to Lisbon mercifully expires.
  17. San Andreas
    The most disturbing thing about this may be how dull and routine it seems. Computer-generated imagery can produce remarkably detailed vistas of disaster — bridges and buildings collapsing; giant ships flung onto urban streets; beloved landmarks pulverized — but the technology also has a way of stripping such spectacles of impact and interest.
  18. Reasonable Doubt
    In lieu of tension, the film is stuffed with crazed musical crescendos, amateurish structural feints and pregnant pauses that cry out for the familiar “chu-CHUNG” of a “Law & Order” scene change.
  19. Pan
    The dominant emotion in Pan is the desperation of the filmmakers, who frantically try to pander to a young audience they don’t seem to respect, understand or trust.
  20. The Lazarus Effect
    Despite eclectic casting and occasional experiments with objective camera, the director, David Gelb (“Jiro Dreams of Sushi”), can’t breathe similar life into this risible mix of pseudoscientific hokum and supernatural freakouts.
  21. The Wait
    It’s all just so much empty eye candy.
  22. The Captive
    The Captive seems tailor-made to explore the psychological damage that a child can suffer over a lengthy confinement, but instead leans too heavily on the chilly desolation of Paul Sarossy’s cinematography. What’s going on in the victim’s mind, or anyone else’s, is as invisible as what lies beneath the snow.
  23. The Giver
    In the end, it taketh — your time, patience and faith in newly imagined dystopias — more than it giveth.
  24. Magic in the Moonlight
    Magic in the Moonlight is less a movie than the dutiful recitation of themes and plot points conducted by a squad of costumed actors. The tidy narrative may advance with clockwork precision, but the clock’s most prominent feature is the snooze button.
  25. G.B.F.
    Unlike such forerunners as “Clueless” and “Mean Girls,” however, this movie, doesn’t have a believable moment in it.
  26. Chander Pahar (Mountains Of The Moon)
    One reason Chander Pahar seems so plodding is that Mr. Mukherjee has a habit of telling us what he doesn’t know how to show.
  27. The Cobbler
    The sophomoric humor may be absent, but in its place is only a soufflé of whimsy, seasoned with soot, that fails to rise.
  28. Serena
    The actors don’t just look uncomfortable in their period duds, they also look uneasy in their own skins, which is a feat for two such natural, physically confident screen performers.
  29. She's Funny That Way
    There’s barely a whiz-bang punch line or smoothly executed setup to be found in a movie that longs to be a sparkling bedroom comedy and winds up a tortured, fizz-free farce.
  30. Indigo Children
    Indigo is vaguely defined here as having a certain sensitivity and even power, but the movie doesn’t quite share those qualities, collapsing from a lack of direction in more than one sense.
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