The New York Times' Scores

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For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
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  1. Heart of a Dog
    Heart of a Dog is about telling and remembering and forgetting, and how we put together the fragments that make up our lives — their flotsam and jetsam, highs and lows, meaningful and slight details, shrieking and weeping headline news.
  2. Jason and Shirley
    Flashbacks and fantasy sequences undercut the claustrophobic atmosphere. What’s left is amateurish play acting — pointless for anyone who hasn’t seen “Portrait of Jason” and redundant for those who have.
  3. Jane B. par Agnès V. (1988)
    While the word “feminism” is never uttered in this movie, Jane B. par Agnès V. is an exemplary feminist work, one in which two female artists, self-aware but hardly self-conscious, create beauty by exchanging notes.
  4. The Boy from Geita
    [A] brutally powerful documentary.
  5. Homemakers
    The movie is thin on true narrative, preferring to study Irene without shedding quite enough light on her background or tracking her development.
  6. Field Niggas
    While the movie’s multiple images are never less than numinous, and its rhythms sometimes skirt the strangely seductive, this astonishing movie is the opposite of hypnotic.
  7. Tab Hunter Confidential
    Jeffrey Schwarz’s documentary portrait Tab Hunter Confidential is as mild-mannered and blandly likable as its subject.
  8. All Things Must Pass
    This movie makes you appreciate anew the one-on-one social dimension lost in the music industry’s headlong switch to digital downloads.
  9. Meadowland
    The setup is a scriptwriting gimme — if your central couple lose a child, practically any subsequent behavior is justifiable — but the actors sell what they’re given quite effectively.
  10. Mi America
    Mi America is not just about a murder case but about how residents of divided communities share a history and deal with one another, sometimes hopefully, always warily.
  11. The Russian Woodpecker
    Whatever the facts, Mr. Gracia’s messily structured film works best as a document of fear in today’s Ukraine and as a kind of ghost story about the Soviet Union.
  12. Truth
    More than most docudramas about fairly recent events, it is so well written and acted that it conveys a convincing illusion of veracity.
  13. Experimenter
    Mr. Almereyda takes Milgram, his work and ideas seriously but doesn’t suffocate them: Despite the story’s freight, the laboratory shocks and Milgram’s insistent melancholia, Experimenter is a nimble, low-frequency high.
  14. The Assassin
    The film is intriguing, but ultimately opaque, a lovely, inert object that offers, in the name of movie love, an escape from so much that is vital and interesting about movies.
  15. Room
    While it flickers with grace and imagination during its initial half, largely because of Jack, it devolves into a dreary, platitudinous therapy movie in its second, largely because of Ma.
  16. Goosebumps
    More often than not, Mr. Letterman uses his movie as a toy chest of characters more than as a medium, the muggy Mr. Black included.
  17. Crimson Peak
    The film is too busy, and in some ways too gross, to sustain an effective atmosphere of dread. It tumbles into pastiche just when it should be swooning and sighing with earnest emotion.
  18. Beasts of No Nation
    The movie itself is an effective nightmare, and a solid piece of filmmaking, strong enough to make you wish that it could have borne the full weight of the tragedy it set out to depict.
  19. Bridge of Spies
    Like some of Mr. Spielberg’s other recent movies, notably “Lincoln” and “Munich,” this one is a meticulously detailed period piece that revisits the anxieties of the past while also speaking to those of the present. Yet it also feels lighter than those films, less weighted down by accreted history or maybe by a sense of duty to its significance.
    • 55 Metascore
    • 60 Critic Score
    A Ballerina's Tale
    Mr. George chooses to avoid the more heart-wrenching aspects of Ms. Copeland’s tough upbringing, and his presentation of her remarkable comeback is remarkably low on suspense.
  21. Xenia
    Xenia has been called a farce. But it is much more than that. Both the story and the performances are packed with raw emotion.
  22. A Faster Horse
    The tidbits we learn are wrapped in an unabashedly promotional tone that overestimates the global emotional attachment to this car’s muscular mythos. It’s difficult to believe that this tribute comes from the director who showed such delicacy in his appreciation of Jiro Ono’s art.
  23. Unbranded
    What lingers, though, are stirring vistas of the backcountry West, and admiration — for the Aggies’ achievement, Mr. Masters’s imagination and Mr. Baribeau’s skill in chronicling it all.
  24. Poached
    The subject matter is only part of what makes Poached one of the more unsettling documentaries to come along lately. The presentation is also pivotal.
  25. In My Father's House
    The story’s seemingly clear notions of guilt on one side and grievance on the other are gradually nudged in unexpected directions.
  26. Trash
    Trash is a shameless bid to recycle the mystique of “Slumdog Millionaire,” its likable, overrated prototype.
  27. Short Skin
    The film opts for a somber if gentle tone that, given the story, is equally ill suited.
  28. Victoria
    Victoria is a sensational cinematic stunt.
  29. A Woman Like Me
    The rambling, uncertain tone engendered by Ms. Sichel’s striving to align her Buddhist beliefs with the harsh realities of terminal illness also weakens her story’s gravitational pull.
  30. Reversion
    The sci-fi premise that drives the thriller Reversion is probably close enough to being a reality that the movie should raise goose bumps. Instead it’s uninvolving, thanks to uninspired acting and a script that doesn’t take the central idea very far.
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