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. Moonwalkers
    Though Mr. Grint and Mr. Perlman both come off credibly, the movie is practically laugh-free.
  2. Intruders
    Ms. Riesgraf, who at times recalls the young Teri Garr, is gutsy and committed, but not even Meryl Streep could make this hokum credible.
  3. The Benefactor
    So long as the camera is studying Franny maniacally bestowing his largess or throwing temper tantrums, The Benefactor is mesmerizing. But Mr. Gere’s flamboyant performance is the sole raison d’être for this melodrama.
  4. Norm of the North
    Its plotline, involving Norm’s trek to New York to foil a condos-in-the-Arctic scheme, is inane even by the standards of animated funny animal comedy. Its gag set pieces run the gamut from uninspired to incoherent.
  5. In the Shadow of Women
    Mr. Garrel is always worth attending to when he takes up the rhythms and paradoxes of love, and even though this is a minor entry in his canon of melancholy romances, it is brief, brisk and intermittently affecting.
  6. Ride Along 2
    This franchise is lucky to have Kevin Hart in that role, and his manic comic energy is enough to make the sequel something other than a complete waste of time. But the genre is also stubbornly innovation-proof, and there’s not much new to see here.
  7. Band of Robbers
    This comic take on “The Adventures of Huckleberry Finn” and “The Adventures of Tom Sawyer” is infused with a gleefully absurdist sense of humor while retaining a childlike sense of wonder.
  8. 13 Hours: The Secret Soldiers of Benghazi
    The movie is a pummeling slog — 45 minutes of setup and an eternity of relentless combat.
  9. Unlucky Plaza
    The multicultural milieu lends an initial boost as Mr. Kwek’s jokes and plot entanglements take potshots at life in Singapore, but all the air seeps out of this attempt at zippy, tabloid-nutty storytelling.
  10. Henry Gamble's Birthday Party
    Henry Gamble’s Birthday Party feels sincere but not accomplished, empathetic but not deep.
  11. Troublemakers: The Story of Land Art
    The film’s generous views of spectacular works like Smithson’s monumental “Spiral Jetty” (the work projects into the Great Salt Lake in Utah) and Mr. Heizer’s “Double Negative” in Nevada (a huge trench bisected by a canyon) are best seen on the largest screen available.
  12. Sweaty Betty
    Defiantly amateurish yet never less than engaging, “Sweaty Betty” is a true oddity.
  13. The Forest
    A decently executed creeper built around a convincing performance by Natalie Dormer.
  14. Lamb
    Mr. Partridge never figures out how to complicate his version and its voices, or maybe doesn’t want to. He softens Lamb and Tommie with tears, safe hugs and averted looks and, once they land in the countryside, mires them in sentimentality.
  15. Anesthesia
    Lacking epic pretensions and modest in scale, running under 90 minutes, Anesthesia is really closer in spirit to Rodrigo García’s delicate 2005 gem, “Nine Lives.” And it doesn’t waste a word or an image.
  16. The Treasure
    The final shot, accompanied by an improbable but perfect musical cue, is an astonishing cinematic gesture, an appalling, hilarious statement about modern values, the state of the world, human nature and everything else. This is a movie that lives up to its name.
  17. Other People's Children
    Other People’s Children desperately wants to take a deep dive into a young woman’s pain and the solace of artistic expression. For that to happen, though, would require much better actors and a much smarter script.
  18. TransFatty Lives
    Refreshingly unpredictable but also frustrating.
  19. The Himalayas
    It finds a few moments of sweep and suspense in between grand speeches and reprises of a swollen score.
  20. Only Yesterday (1991)
    Mr. Takahata’s psychologically acute film, which was based on a manga, seems to grow in impact, too, as the adult Takao comes to a richer understanding of what she wants and how she wants to live.
  21. Yosemite
    Ms. Demeestere’s direction winds up frustratingly splitting the difference between thoughtfully detached and just plain vague.
  22. Anomalisa
    Mr. Kaufman’s gift for quotidian horror remains startling; he’s a whiz at minor miseries.
  23. Point Break
    Nowhere does Mr. Core’s film approach the action-movie chops or psychological smarts of Ms. Bigelow’s original or, truth be told, benefit from actors displaying the same charm as her stars. But for a number of liberating airborne seconds, none of that may matter.
  24. Mr. Six
    The baggy 137-minute story drowns out Mr. Feng’s assorted sharp moments with hoary family drama and clumsy plotting, and Li Yifeng is generic as Mr. Six’s son.
  25. Daddy's Home
    Daddy’s Home is an ugly psychological cockfight posing as a family-friendly comedy. Laugh-free — except for some farcical, life-threatening stunts at the expense of Will Ferrell’s character, Brad — it is best avoided unless a movie that has the attitude and mind-set of a schoolyard bully happens to be your thing.
  26. Concussion
    While Concussion has some fine things going for it, notably science and Will Smith, it lacks the exciting, committed filmmaking that rises to the level of its outrageous topic.
  27. Joy
    The movie, in all its mess and glory, belongs almost entirely to Ms. Lawrence. She is the kind of movie star who turns everyone else into a character actor. This is not a complaint but an acknowledgment of both her charisma and her generosity.
  28. The Revenant
    Mr. Iñárritu isn’t content to merely seduce you with ecstatic beauty and annihilating terror; he wants to blow your mind, to amp up your art-house experience with blockbusterlike awesomeness.
  29. The Hateful Eight
    Maybe I’m repeating myself: The Hateful Eight is a Quentin Tarantino movie. But Mr. Tarantino is also repeating himself, spinning his wheels here in a way he has rarely done before. None of his other films venture so far into tedium or manage to get in their own way so frequently.
  30. Where to Invade Next
    Where to Invade Next is a sprawling, didactic polemic wittily disguised as a European travelogue.
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