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. Free to Run
    Free to Run prefers nothing more than an easy jog down memory lane.
  2. Garnet's Gold
    Approaching the story for the traditional trappings — narrative, action, even logic — is to ensure disappointment. But look to it for beauty and lyricism, and you may find a deeper satisfaction.
  3. Equals
    It is so vague, cliché-ridden and devoid of surprise and suspense that once you grasp its premise, watching it is like leafing through a design magazine kept in a refrigerator.
  4. How He Fell in Love
    We bend over backward to find joy in this movie, but, like eager yogis striving to achieve an impossible asana, we just can’t do it.
  5. Outlaws and Angels
    The sensibility is more grindhouse gore than spaghetti western, perhaps hoping to mine the same vein as Quentin Tarantino’s “The Hateful Eight,” but lacking Mr. Tarantino’s lively dialogue and wicked sense of humor.
  6. Lucha Mexico
    Lucha Mexico often plays less like a character study than like a simple promotional effort, with repetitive platitudes.
  7. Phantom Boy
    Instead of maintaining an effervescent fizzle, Phantom Boy too frequently sputters piffle.
  8. Café Society
    It is, overall, an amusing little picture, with some inspired moments and some sour notes, a handful of interesting performances and the hint, now and then, of an idea.
  9. Tony Robbins: I Am Not Your Guru
    By restricting himself to showing how well Mr. Robbins does his job, Mr. Berlinger mainly reveals how narrowly he has done his own.
  10. Don't Blink - Robert Frank
    You leave with a vivid sense of the man’s living presence and a reasonably thorough account of his life, work and associations. Given the sheer volume and variety of the work in question, this is an impressive achievement.
  11. The Infiltrator
    Robert is not a Shakespearean figure like Walter White, but the film at least grants him the moral stature of an incorruptible man risking his life in a dangerous job. The Infiltrator is still a good yarn that, when it catches its breath, allows Mr. Cranston to convey the same ambivalence and cunning he brought to “Breaking Bad” and “All the Way."
  12. Ghostbusters
    Sliding into theaters on a river of slime and an endless supply of good vibes, the new, cheerfully silly Ghostbusters is that rarest of big-studio offerings — a movie that is a lot of enjoyable, disposable fun.
  13. Indian Point
    Ms. Meeropol is steadfast in providing both sides of the story. That’s admirable, yet it can come across as uninvolving.
  14. Men Go to Battle
    The filmmakers’ bold pushback against the rigid formality of the genre they draw upon doesn’t always deliver. With the exception of Ms. Korine, the performers often seem to have a hard time shaking off the aura of the contemporary. Nevertheless, there’s much of value here.
  15. The Debt
    Slow and sincere, The Debt bites off more plot than it can dramatically chew, its characters — especially the go-between played by the excellent Argentine actor Alberto Ammann — diluted by political maneuvering.
  16. Norman Lear: Just Another Version of You
    Effective topical entertainment, we are reminded, rarely comes without creative conflict.
  17. Fathers and Daughters
    The spectacle of actors of the quality of Russell Crowe, Aaron Paul, Janet McTeer, Octavia Spencer and Jane Fonda earnestly struggling to wring eye moisture from hammy, flat-footed dialogue (credited to Brad Desch, an unknown), while maintaining some dignity, is depressing proof that an actor is only as good as his or her material.
  18. Captain Fantastic
    It’s left to Mr. Mortensen, who can make menace feel like vulnerability — and turn vulnerability into a confession — to keep the movie from slipping into sentimentality. He’s the most obvious reason to see it, although Mr. Ross’s insistence on taking your intelligence for granted is itself a great turn on.
  19. Zero Days
    Zero Days has a similarly balanced outlook along with a critical political viewpoint that avoids hysteria and demagogy. Its strongest protest is against what Mr. Gibney sees as the dangers of excessive American secrecy.
  20. Cell
    Dated, despondent and pretty much a disaster, Cell plays like a series of nods to other science fiction-horror hybrids, notably “The Matrix” (1999) and Philip Kaufman’s 1978 remake of “Invasion of the Body Snatchers.”
  21. Our Little Sister
    Seeming to wander through small incidents and mundane busyness, it acquires momentum and dramatic weight through a brilliant kind of narrative stealth. You are shaken, by the end, at how much you care about these women and how sorry you are to leave their company.
  22. Mike and Dave Need Wedding Dates
    Witless, soulless, often amateurish and filled with product placements (nice going, Coors), the movie has nothing going for it other than some wasted talent.
  23. Cold War 2
    It is a summer sequel worth its salt, a brisk exercise in suspense and high-gloss mayhem.
  24. The Secret Life of Pets
    The Secret Life of Pets is adequate animated entertainment, amusing while it lasts but not especially memorable except as a catalog of compromises and missed opportunities.
  25. Under the Sun
    The movie raises disquieting questions, including a few that Mr. Mansky might not have meant to.
  26. The Innocents
    Blistering.
  27. Microbe and Gasoline
    Time and again, Microbe and Gasoline risks cuteness without going overboard. Too easily taken for granted, its accomplishment is its ability to gaze steadily with warmth but minimal sentimentality at the world through unjaded 14-year-old eyes.
  28. Roseanne for President!
    Fascinating.
  29. Marauders
    Marauders lays out a scenario in the first 40 minutes or so that, oddly enough, makes you think “this is not an entirely uninteresting premise for a thriller.” But after that, things devolve into “this is extremely far-fetched” and, finally, “this is goofy.”
  30. Life, Animated
    Belaboring the cartoon connection, the director leaves the family struggles that enrich Mr. Suskind’s 2014 book of the same title stubbornly veiled.
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