The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. Dukhtar
    Its principal merit is the quiet authority of Ms. Mumtaz, who combines a mother’s passionate concern with glimmers of an awakening consciousness.
  2. Knock Knock
    Knock Knock ends on a not entirely satisfactory note, but delivers a pretty mean genre wallop getting there (with almost zero gore).
  3. The Final Girls
    A horror comedy that proves that with the right actors you can make an amusing movie even if a lot of your ideas are borrowed.
  4. Winter on Fire: Ukraine's Fight for Freedom
    What Winter on Fire lacks in journalistic detachment it more than makes up for in fidelity to the feelings and motives of the participants. It’s more than just a portrait of terror, anger, desperation and resolve; it communicates those emotions directly, into the bloodstream and nervous system of the audience.
  5. Yakuza Apocalypse
    Mr. Miike’s narrative model is essentially the Kool-Aid commercials of the 1980s: Periodically, somebody new bursts into the room or onto the street, and a fight or something bizarre takes place.
  6. Pan
    The dominant emotion in Pan is the desperation of the filmmakers, who frantically try to pander to a young audience they don’t seem to respect, understand or trust.
  7. Steve Jobs
    Steve Jobs is a rich and potent document of the times, an expression of both the awe that attends sophisticated new consumer goods and the unease that trails in the wake of their arrival.... Mostly, though, it is a formally audacious, intellectually energized entertainment, a powerful challenge to the lazy conventions of Hollywood storytelling and a feast for connoisseurs of contemporary screen acting.
  8. Guilty (Talvar)
    Mr. Khan is this movie’s best weapon. Playing a familiar character type, the world-weary detective, he gives a performance, full of small, sly details, that doesn’t seem familiar at all.
  9. (T)error
    Because of its shortcomings, (T)error serves as evidence of a broken system rather than an indictment of it. Yet such evidence is worrisome and points to a threat to civil rights.
  10. The Forbidden Room
    On one viewing, at least, it is a typically impenetrable Maddin film: zany one minute, pompous the next. Ardent Maddin admirers, of whom I am not one, might discern a grand design of what often feels like a post-Freudian horror comedy.
  11. Keith Richards: Under the Influence
    You certainly feel as if you were getting to know the man as he really is, but that doesn’t necessarily mean you’re gaining much insight.
  12. Going Away
    It’s a quietly compelling story.
  13. Taken by Storm: The Art of Storm Thorgerson and Hipgnosis
    Roddy Bogawa’s Taken by Storm taps that intimate, thrilling ritual of another era: picking a record in a music store, beguiled by a mysterious album cover before the needle has even dropped.
  14. He Named Me Malala
    It only occasionally delivers the kind of unguarded moment that makes you feel as if you’re getting beneath the media image, and it is not at all interested in discussing broader issues raised by Ms. Yousafzai’s fame.
  15. Brand: A Second Coming
    Brand: A Second Coming wants to tell the story of a man overcoming temptation and trading a shallow approach to life for something more sustaining and profound. It’s undone by its own shallowness, and by the limited appeal of its subject.
  16. Freeheld
    It’s a bummer to see Ms. Page and especially Ms. Moore — who at this point in her career can usually act her way out of any cliché — so badly stranded by a generic script, credited to Ron Nyswaner, and by a director, Peter Sollett, who can’t figure out how to lift his actors and the material above the bad writing.
  17. This Changes Everything
    Moving, humane and unfailingly polite, This Changes Everything presents a Panglossian view of approaching disaster that (according to the film’s publicity notes) seeks to empower rather than to scare. But we should be scared.
  18. Addicted to Fresno
    You can get away with this sort of thing if your humor is sharp, but here it’s mostly sophomoric and rarely surprising.
  19. A Christmas Horror Story
    Unsparingly gory and on occasion actually shock-inducing, it can’t help falling prey to Genre Overreach syndrome, in which horror fans turned horror creators maniacally pile up their favorite terrorizing tropes, as if they’d never get the chance again.
  20. Deathgasm
    In between the rampant four-letter words and the occasional partial nudity are likable attempts at humor — some sweet, some saucy.
  21. Partisan
    The screenwriters, Ariel Kleiman (who is also the director) and Sarah Cyngler, have cut their story loose from any real significance, leaving us with Gregori, who has no discernible political views and no unifying beliefs, even delusional ones.
  22. Northern Soul
    Funny and feisty, gritty and sometimes grim, this first feature from the photographer Elaine Constantine delivers a sweaty snapshot of a very specific time and place.
  23. Sherpa
    An exceptionally absorbing documentary.
  24. Jafar Panahi's Taxi
    Like Mr. Panahi’s cab, his film is equipped with both windows and mirrors. It’s reflective and revealing, intimate and wide-ranging, compact and moving.
  25. Shout Gladi Gladi
    [A] thorough, powerfully straightforward documentary.
  26. Shanghai
    The spectacular international cast... bring a lot of life to the movie’s uncooperative story material.
  27. The Martian
    Mr. Damon’s Everyman quality (he’s our Jimmy Stewart) helps scale the story down, but what makes this epic personal is Mr. Scott’s filmmaking, in which every soaring aerial shot of the red planet is answered by the intimate landscape of a face.
  28. The Creeping Garden
    Throughout, the filmmakers achieve the rare documentary feat of delving into a topic from multiple angles without slathering it in adulation.
  29. Labyrinth of Lies
    It is content to be a chilly, disquieting study of a society in a state of denial until the truth is bared.
  30. The Walk
    Almost magically, The Walk transforms itself into a beguiling caper movie, full of comic energy and nimble ingenuity.
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