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. The Rolling Stones Olé Olé Olé!: A Trip Across Latin America
    Directed slickly by Paul Dugdale, “Olé” is less a concert film or travelogue than a historical account — swiftly, smartly assembled, reflecting events only six months old.
  2. Among the Believers
    The directors let their subjects speak without overtly passing judgment.
  3. Masterminds
    The full-on goofiness is not reliably buoyant; this is an intermittently enjoyable but often choppy comic ride.
  4. A Man Called Ove
    Good-hearted stuff, to be sure, but mainly of interest to lovers of cinematic comfort food.
  5. Long Way North
    The frosty landscapes have a subtle beauty, pale and sometimes shrouded in mist, giving the film a very different look from what often comes out of the big studios — somber, which is appropriate to the story.
  6. Harry & Snowman
    In the film, a student of Mr. deLeyer’s recalls some of his advice: “Throw your heart over the top, and your horse will follow.” Harry & Snowman makes you want to do the same.
  7. Do Not Resist
    The film doesn’t unearth anything that hasn’t already been voiced, and it could use more details on the scope of the phenomenon. But with more police shootings in the headlines just in the past few days, it’s nothing if not timely.
  8. Danny Says
    If Mr. Fields’s contributions to pop music deserve more fame, the movie plays like an overcorrection, a spirited but repetitive testament to one man’s excellent taste.
  9. Denial
    The absence of an emotional catharsis in the film, efficiently directed by Mick Jackson (“The Bodyguard,” “Temple Grandin”) from a screenplay by the British playwright David Hare, leaves a frustrating emptiness at its center.
  10. Girl Asleep
    As it seesaws between Greta’s conscious and unconscious minds, the movie begins to feel like a waking dream.
  11. Miss Peregrine's Home for Peculiar Children
    Mr. Burton, whose artistry is at times most evident in its filigree, can be a great collector when given the right box to fill, as is the case here. He revels in the story’s icky, freaky stuff; he’s right at home, which may be why he seems liberated by its labyrinthine turns and why you don’t care if you get a little lost in them.
  12. Amanda Knox
    The directors, Brian McGinn and Rod Blackhurst, have produced a tightly edited, coherently structured and ultimately moving reassessment that burrows beneath the lurid in search of the illuminating.
  13. Passage to Mars
    While those seeking interplanetary scenarios may want more details, fans of endurance stories will be pleased. Indeed, Passage to Mars has the effect of making a trip to another world appear almost secondary. The journey undertaken here seems nearly as frightful and fascinating.
  14. American Honey
    American Honey, long and messy as it is, is by turns observant and exuberant, and sweet in a way that is both unexpected and organic.
  15. Deepwater Horizon
    The film itself is as much a feat of engineering as a work of art, an efficient machine for delivering intricate data and blunt emotions.
  16. Tharlo
    Tharlo instead opts for fleeting charm and shaggy humanism, until the narrative takes a grim turn that’s both trite and sexist. The bottom drops out of the movie, leaving its interest almost exclusively ethnographic.
  17. Sand Storm
    As a director, Ms. Zexer has a fine eye for the texture of daily life, which she fills in with resonant physical details and sweeping, scene-setting views.
  18. The Dressmaker
    Unfortunately, and despite its promising start, The Dressmaker doesn’t move much beyond the level of well-costumed playacting.
  19. The Ruins of Lifta
    An achingly poignant documentary.
  20. Goat
    The performances are conscientious and earnest.
  21. Closet Monster
    Connor Jessup wonderfully inhabits the teenage Oscar, who observes others while trying to find himself.
  22. The Free World
    The heavy-handed man-beast comparison is one of several grossly overstated themes in a movie that abruptly changes direction as it goes along while taking shortcuts that leave its characters underdeveloped and crucial plot elements barely fleshed out.
  23. Chronic
    Chronic ends with a sudden, terrible slap in the face that is a final blow to your equilibrium. It is left up to the viewer to decide whether it is a cheap stunt or an ultimate moment of truth. I vote for the latter.
  24. The Lovers and the Despot
    Despite its flaws and will to kitsch, The Lovers and the Despot has enough enigmas and chills to merit a look, even if some of its spookier moments involve cinephilia rather than the usual weapons of mass destruction.
  25. Audrie & Daisy
    Audrie & Daisy is strongest when it investigates what it regards as shortcomings of justice, for reasons technical and implied.
  26. Chicken People
    Will fluffy, poodlelike chickens replace cats on the internet? Maybe not, but these chicken people, with deep connections to their birds, make for a fun and at times astonishing film.
  27. Seed: The Untold Story
    Seed: The Untold Story is one of those documentaries that get you riled up about a situation but leave you feeling that nothing significant can be done about it.
  28. The Jazz Loft According to W. Eugene Smith
    The bohemian paradise of this environment had a dark side, and the movie doesn’t give it short shrift. Nevertheless, a genuine exhilaration holds throughout.
  29. The Age of Shadows
    The Age of Shadows might tempt another filmmaker to dwell on issues or delve deeper into its characters’ hearts. Yet, for this director, exposition can’t hold a candle to elegantly staged shootouts. And who can blame him. He knows his strengths.
  30. Storks
    This film, directed by Nicholas Stoller and Doug Sweetland, is a harmless enough way to occupy a youngster for an hour and a half. It’s just not especially rich in extraordinary characters or moments.
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