The New York Times' Scores

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For 20,271 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 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. Above and Below
    Mr. Steiner’s tightly interconnected documentary, with transporting shots, visits people on the margins in the United States.
  2. The Adderall Diaries
    Spouting stiltedly clichéd dialogue...the actors struggle to sell their characters. Only Mr. Harris eventually succeeds, conveying, in a single speech, what it must be like to be the parent of an addict.
  3. Green Room
    Once the violence starts, Green Room settles into horror movie logic, becoming steadily more gruesome and less terrifying as the body count grows. You know some people are going to die, and figuring out who and in what order feels more like a brainteaser than like a matter of deep moral or emotional concern.
  4. Criminal
    Ariel Vromen has directed a decent, fast-paced action movie, and Mr. Costner is enjoyable to watch as Jerico Stewart.
  5. The Jungle Book
    While this The Jungle Book is lightly diverting, it is also disappointing, partly because it feels like a pumped-up version of Disney’s 1967 animated film, with more action and less sweetness. It also feels strangely removed from our moment.
  6. Barbershop: The Next Cut
    The most fascinating — and the most moving — thing about this sprawling, sincere and boisterous movie is its tone.
  7. Class Divide
    What Class Divide does exceptionally well is capture the sense of change at warp speed.
  8. Havana Motor Club
    [A] serviceable but slightly drawn-out documentary.
  9. Mr. Right
    Ms. Kendrick — whether playing daffy, amorous, insightful or indignant — carries the movie. And her surprising shades of grit don’t hurt, either.
  10. The Invitation
    If the movie works as well as it does, it’s because Ms. Kusama can coax scares from shadows, silences and ricocheting looks.
  11. 11 Minutes
    You could call Mr. Skolimowski, who is 77, an old dog, and while the multistranded, chronologically intricate narrative conceit of 11 Minutes isn’t exactly a new trick, it’s one he pulls off with devilish panache and startling impact.
  12. Demolition
    Mr. Gyllenhaal’s strong performance still doesn’t add enough substance to a film that is hollow at the center. It’s mostly the fault of Mr. Sipe, who seems to believe that saying nothing is saying something.
  13. Louder Than Bombs
    It is possible to admire the craft and sensitivity of Louder Than Bombs without quite believing it. The characters are so carefully drawn that they can feel smaller than life, and the dramatic space they inhabit has a curiously abstract feeling.
  14. Neon Bull
    Neon Bull is a profound reflection on the intersection of the human and bestial.
  15. Look at Us Now, Mother!
    For a movie that promises an “epic journey” to explore a family’s “long-buried suffering,” it’s strangely unsatisfying, and eventually wearisome, to find that this clan is deeply troubled perhaps only in the eyes of its filmmaker.
  16. High Strung
    The dialogue may be dire, but the dancing is delightful.
  17. One More Time
    This is a story full of people being miserable, humorless and selfish, despite having been given a lot in life, and they’re pretty much the same at the end of it as they were at the beginning.
  18. Hardcore Henry
    Its dour eccentricity gives Hardcore Henry a potency above and beyond that of standard-issue show-off action fare. That doesn’t mean it’s not still obnoxious, though.
  19. The Boss
    The movie is funny without being much good; mostly, it’s another rung on Ms. McCarthy’s big ladder up. It’s a fitful amalgam of bouncy and slack laughs mixed in with some blasts of pure physical comedy and loads of yammering heads. There isn’t much filmmaking in it, outside of Ms. McCarthy’s precision comedic timing and natural screen presence.
  20. Vita Activa: The Spirit of Hannah Arendt
    Ms. Ushpiz is determined to rescue her subject from the banality of biography. The details of Arendt’s childhood, education, romantic life and professional activity are not ignored, but they nearly always illuminate her ideas.
  21. H.
    A clever film written and directed by Rania Attieh and Daniel Garcia, H. keeps the viewer watchful, waiting for it to splatter into a familiar horror plot or spin off into an alien abduction.
  22. Marinoni: The Fire in the Frame
    A chronicle of obsession ought to provide some insights.
  23. Darling
    Mickey Keating’s horror outing Darling manages to conjure an effectively unsettling miasma.
  24. The Girl in the Photographs
    This sad slasher is as lacking in scares as in ideas.
  25. Too Late
    Mr. Hauck’s affection is apparent in every frame, yet outside of an occasionally clunky line or show-offy moment (O.K., sometimes it’s more occasional than just occasionally), he rarely allows it to alter his aim. That aim is to make a modern noir. That aim is true.
  26. Notfilm
    A charming, earnest, sometimes ungainly mixture of history, criticism and high-minded gossip, Notfilm testifies to an almost inexhaustible fascination with the pleasures and paradoxes of cinema.
  27. Standing Tall
    Mr. Paradot’s performance is so viscerally intense that there is no escaping its force.
  28. The Flight Fantastic
    Is the film a bit self-promotional? Sure, but it’s enjoyable nonetheless.
  29. Catching the Sun
    One notion underlying Shalini Kantayya’s winning documentary, Catching the Sun, is that solar power is not only a cleaner alternative to fossil fuels but can also effectively curtail unemployment.
  30. Kill Your Friends
    A richly satisfying poison-pen letter to the music industry.
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