The New York Times' Scores

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For 20,269 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: 9,377 out of 20269
  2. Mixed: 8,428 out of 20269
  3. Negative: 2,464 out of 20269
20269 movie reviews
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  1. Ghost in the Shell
    [Mr. Sanders] likes a dark palette and is good with actors, but there’s little here that feels personal, and he mostly functions as a blockbuster traffic cop, managing all the busily moving, conspicuously pricey parts.
  2. Cézanne et Moi
    Cézanne et Moi offers a pungent, demystifying portrait of the rowdy late-19th-century Parisian art world where famous painters and poets mingled and jostled for position at dinner parties and art openings filled with shoptalk, backbiting and intrigue.
  3. The Zookeeper's Wife
    Ms. Chastain’s watchful, layered performance helps keep the film on an even keel, but it is not enough to prevent The Zookeeper’s Wife, with its reassuringly cuddly critters, from feeling like a Disney version of the Holocaust.
  4. The Discovery
    The story stays intriguing for much of the way, but eventually things cease to make sense.
  5. Karl Marx City
    Karl Marx City, Michael Tucker and Petra Epperlein’s unsettling new documentary, is a smart, highly personal addition to the growing syllabus of distressingly relevant cautionary political tales.
  6. Phillauri
    Mr. Lal, making his feature directorial debut, clearly understands the camera and special effects. But working from a script by Anvita Dutt that reaches too far in too many directions, he is undone by his own ambition.
  7. In Search of Israeli Cuisine
    When it’s not being overly promotional, it can be interesting.
  8. Dig Two Graves
    Hunter Adams’s Dig Two Graves is that rare chiller conjuring eeriness and dread without defaulting to abundant gore or flagrant nudity.
  9. American Anarchist
    A study in denial, American Anarchist may be illuminating for being unilluminating.
  10. I Called Him Morgan
    This is not a lurid true-crime tale of jealousy and drug addiction, but a delicate human drama about love, ambition and the glories of music.
  11. CHIPS
    Borderline incoherent and unrepentantly lewd, this buddy-cop comedy (based on the 1977-83 television series of the same name) substitutes cars, ’copters and motorcycles for actual characters
  12. Life
    As the astronauts contend with airlocks, busted equipment and escape pods, it becomes increasingly difficult to pretend that this isn’t territory where more inventive screenwriters...and stronger visual stylists have gone before.
  13. Saban's Power Rangers
    When the Rangers engage in “Transformers”-lite mayhem, an intriguing group portrait collapses into generic pyrotechnics.
  14. I, Olga Hepnarová
    Anchored by a startling performance by Michalina Olszanska, the Czech film “I, Olga Hepnarova” is an austere, hypnotic story of sadness, madness and murder.
  15. Prevenge
    Prevenge is a brilliantly conceived meditation on prepartum anxiety and extreme grief.
  16. Wilson
    The dark, comic poignancy of the book is drowned in garish, self-conscious whimsy, and the work of a talented ensemble is squandered on awkward heartstring snatching.
  17. A Woman, a Part
    Touching on issues of artistic survival and the porous boundary between work and pleasure, Ms. Subrin, an accomplished visual artist and filmmaker, sifts addiction, celebrity and the plight of the aging actress into something rarefied yet real.
  18. P.S. Jerusalem
    An exemplar of how to make the personal political.
  19. Atomica
    While its premise and some of its effects may be B-movie grade, Atomica — like the best B movies — delivers an unexpectedly rewarding kick.
  20. Betting on Zero
    Even without an upbeat ending, though, Betting on Zero would be persuasive advocacy.
  21. Mean Dreams
    Nathan Morlando’s Mean Dreams may use a time-honored premise — young lovers on the lam (see: “Badlands”) — but it does so with such quiet, gently appealing assurance that it makes the template seem fresh again.
  22. Actor Martinez
    Some movies about making movies (Truffaut’s “Day for Night,” for one) are charming. The self-references here, while intriguing, approach a comic navel-gaze. Actor Martinez has a saving grace, however: Ms. Burdge.
  23. Song to Song
    There is...much to admire in Song to Song and much to argue with, including its ideas about pleasure and women. So go, fall into its embrace, resist its charms, argue. This may not be a film to love, but it is a film to see.
  24. The Show About the Show
    This is an undeniably fascinating film despite, or perhaps because of, the repellent actions Mr. Zahedi depicts himself taking.
  25. T2 Trainspotting
    Playing with memory — the characters’ and our own — allows Mr. Boyle and his cinematographer, Anthony Dod Mantle, to conjure some of the movie’s loveliest, most melancholy images.
  26. Tickling Giants
    There’s a lot to laugh at, and to learn from, in Tickling Giants, a documentary that starts off by telling the story of one man and ends up speaking volumes about satire, freedom of expression and political pressure.
  27. The Devil's Candy
    To enjoy The Devil’s Candy, then, one must tolerate slapdash writing (by the director, Sean Byrne) and profoundly irritating adult behavior. Yet Mr. Byrne...somehow whips his ingredients into an improbably taut man-versus-Satan showdown.
  28. The Belko Experiment
    The Belko Experiment is a grisly, sick-making exercise in sadism that tries to camouflage its base venality in a thought-experiment plot.
  29. After the Storm
    Mr. Kore-eda, whose most noteworthy family dramas include “Still Walking” (2009) and “Like Father, Like Son” (2014), works in a quiet cinematic register, and the slightest error in tone could upend the whole enterprise. Slow-paced, sad, rueful and sometimes warmly funny, After the Storm is one of his sturdiest, and most sensitive, constructions.
  30. Frantz
    Frantz takes pains to show both sides’ lingering hostility after a devastating and (the movie implies) senseless war.
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