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. Kung Fu Yoga
    A lively closing dance sequence, after an earnest, underwhelming climax, pays affectionate tribute to Bollywood production numbers. But you won’t find Mr. Chan’s customary bloopers over the closing credits.
  2. Resident Evil: The Final Chapter
    The movie percolates enough that even when, at its climax, it shamelessly recycles a grisly punch line from 1987’s “RoboCop,” it’s kind of endearing, not least because Mr. Anderson and company make it work.
  3. Paris 05:59: Théo & Hugo
    Light on plot yet heavy on chemistry, Paris 05:59 is at times a little precious. But the two leads are so believably besotted that their occasional immaturity doesn’t rankle.
  4. I Am Michael
    While intellectually laudable, Mr. Kelly’s determined objectivity is so distancing that it takes an inherently intriguing story (based on a 2011 article in The New York Times Magazine) and sucks the life out of it.
  5. Behemoth
    Behemoth proceeds placidly, making it easy to become lulled. Its haunting power grows in retrospect — as if you’ve returned from a journey and can’t believe what you’ve seen.
  6. The Salesman
    With exquisite patience and attention to detail, Asghar Farhadi, the writer and director, builds a solid and suspenseful plot out of ordinary incidents, and packs it with rich and resonant ideas.
  7. Lost in Florence
    The story may not stay with you, but don’t be surprised if you come away with a strong desire to visit Florence.
  8. Gold
    [McConaughey's] wild, abrasive and improbably delicate performance is what makes Gold watchable, even if the rest of the movie doesn’t supply sufficient reason to keep watching.
  9. A Dog's Purpose
    You don’t need an animal-rights group’s boycott to give you permission to avoid A Dog’s Purpose. You can skip it just because it’s clumsily manipulative dreck.
  10. The Founder
    Ray remains an unanswered, not especially compelling, question, but Mr. Keaton comes close to making you believe there’s soul to go with the fries and freneticism.
  11. The Sunshine Makers
    Whether together or apart, Mr. Sand and Mr. Scully seemed to be operating on a similar wavelength, and the movie gets a lot of mileage from their sometimes excellent, at times hair-raising, occasionally puckishly funny and altogether wild adventures.
  12. Staying Vertical
    Something about the strangeness of the people and the harsh indifference of the nature that surrounds them feels real, even if realism in the conventional sense may be the last thing on the filmmaker’s mind.
  13. The Red Turtle
    The Red Turtle practices a minor, gentle magic. It wants you to smile and say, “Ahh,” rather than gasp and say, “Wow.” But somehow the understatement can feel a bit overdone, as if the film were hovering over you, awaiting an expression of admiration.
  14. Split
    Split is lurid and ludicrous, and sometimes more than a little icky in its prurient, maudlin interest in the abuse of children. It’s also absorbing and sometimes slyly funny.
  15. Antarctica: Ice and Sky
    The movie is both heady (there are real thrills in the stories of exploration) and sobering (Mr. Lorius’s findings are convincing). This is a cogent, accessible cinematic delineation of an increasingly crucial problem.
  16. My Father Die
    Bathed in a funk of testosterone, and heaving with homophobia and misogyny, My Father Die is a trashy jewel.
  17. Saving Banksy
    [A] fascinating documentary.
  18. Starless Dreams
    If Starless Dreams inspires conflicted feelings in viewers, it may be by design. It’s hard not to want to flee, and it’s hard to look away.
  19. They Call Us Monsters
    They Call Us Monsters doesn’t shy from the consequences of the violence the prisoners were accused of (we meet a paralyzed victim of a shooting), even as it suggests that the system...proceeds almost mechanically.
  20. We Are the Flesh
    We Are the Flesh, its abundance of repellent imagery notwithstanding, has an air of the academic about it.
  21. Trespass Against Us
    Though thematically vague, thinly plotted and without a reliably sympathetic soul to cling to, the movie has a mutinous energy and an absurd, knockabout charm.
  22. xXx: Return of Xander Cage
    Characters are simply triggers for the overwrought action sequences, though between the Edward Scissorhands editing and occasional wobbling background, even those are less than distinct.
  23. Leonard Cohen: Bird on a Wire
    The movie is a worthy time capsule and a must for Cohen devotees. Its occasional meanderings into artiness, which take the form of interpolation of outside footage (war atrocities and home movies, mainly) are emblematic of the time it was made and mercifully brief.
  24. Strike a Pose
    Beyond the personal stories, the movie frames the tour and Truth or Dare as landmarks in the push for gay rights and awareness, and makes a convincing case.
  25. Sleepless
    Sleepless, directed by Baran bo Odar, sets a low bar for itself, and then trips over it.
  26. Claire in Motion
    Ms. Robinson and Ms. Howell have kitted out their movie handsomely, but there’s not enough story here or enough anything else, namely a persuasive psychological portrait of Claire, to make up for that lack.
  27. The Son of Joseph
    The Son of Joseph can be trying in its whimsy, yet it builds to a lovely finale that evokes the Bible, the French Resistance and the surreal.
    • 62 Metascore
    • 90 Critic Score
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    [A] riveting documentary.
  29. Ma
    Alternately sexy and silly, galvanic and gentle, MA is best enjoyed as a slide show of visual blessings and, sometimes, bafflements.
  30. 100 Streets
    The threads may not all be original, but they’re kept nicely distinct. Rather than awkwardly intertwining, they merely brush up against one another.
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