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. Cooties
    Though Cooties has a reasonable amount of laughs and frights, and though real teachers may find it an apt allegory for the zombielike charges in their classrooms, it’s not really funny enough to achieve grown-up cachet, and it’s too ugly and violent for younger viewers.
    • 43 Metascore
    • 40 Critic Score
    Maze Runner: The Scorch Trials
    The Scorch Trials adds nothing new to the unkillable dystopian genre, but it’s at least less ponderous than its predecessor. The many chases and ludicrous narrow escapes offer respectable doses of adrenaline.
  3. Some Kind of Hate
    It fails to deliver a thrill — not even a shiver, except of revulsion — rendering all that slasher gore downright anemic.
  4. The Cut
    Too many scenes feel routine or clichéd, sometimes even those depicting extreme experiences.
  5. Hellions
    A jumbled third act and an indifferent ending ultimately make Hellions disappointing. But there’s a bit of fun to be had in its opening frights, and in trying to figure out what these costumed little monsters really want.
  6. Captive
    A credit-sequence television clip of Mr. Warren and the real Ms. Smith with Oprah Winfrey makes the entire movie feel like the strangest book infomercial in memory.
  7. Sicario
    Mr. Villeneuve, aided by Taylor Sheridan’s lean script, Roger Deakins’s parched cinematography and Johann Johannsson’s slow-moving heart attack of a score, respects the imperatives of genre while trying to avoid the usual clichés. It’s not easy, and he doesn’t entirely succeed.
  8. Tired Moonlight
    It certainly demands patience (and a forgiving eye) as it experiments with an odd style. Yet it’s also a compassionate look at characters who don’t dwell on life. Instead, they live.
  9. Everest
    Though it assembles a first-rate cast in a story taken from reality, Everest feels icebound and strangely abstract, lacking the gravity of genuine tragedy or the swagger of first-rate adventure.
  10. Black Mass
    Mr. Cooper’s direction is skillful, if overly reliant on borrowed Scorseseisms (especially when it comes to music), and the cast is first-rate, but the film is a muddle of secondhand attitudes and half-baked ideas. It feels more like a costume party than a costume drama.
  11. Peace Officer
    While Peace Officer could offer more information, what is here is disturbing and sometimes eye-opening.
  12. Pawn Sacrifice
    Ultimately, it is only partly about Bobby Fischer. It is equally about us — Americans or any other nationality inclined to put too much importance on chess matches, soccer matches, space races, whatever. It’s about how we manufacture celebrities on scant pretext and then destroy them, or allow them to destroy themselves while we watch.
  13. The Fool
    The Fool is a hard movie to shake.
  14. The Perfect Guy
    Michael Ealy has a very ominous stare and Sanaa Lathan sells her inconsistent character pretty well, but The Perfect Guy is still just a boilerplate stalker story that proceeds more or less as you suspect it will.
  15. Goodnight Mommy
    Unspooling with virtually no music and a seriously unsettling sound design, Goodnight Mommy gains significant traction from small moments.
  16. Wolf Totem
    The landscape and painstakingly trained wolves are the true stars.
  17. Listening
    [A] strained, overheated thriller.
  18. The Moving Creatures
    Mr. Gotardo uses long, slowly unfolding shots and extended close-ups to aid our familiarity with each set of characters — almost by osmosis, we grasp their domestic dynamics, the rhythm of their routines.
  19. Paul Taylor: Creative Domain
    Through it all, Mr. Taylor’s creative mysteries remain intact; a master of the casual and the vernacular (a good way to learn about movement, he says, is to watch football halftime shows), he nonetheless approaches the mystical.
  20. Meet the Patels
    Meet the Patels is a tidy, easygoing documentary in which peripheral players prove more intriguing than its central focus.
  21. Home from Home: Chronicle of a Vision
    Home From Home is imbued with the villagers’ attachment to the land, but while dutifully capturing the period, the film feels less layered than Mr. Reitz’s past work.
  22. Breathe
    Breathe conveys an uncanny insight into the psychology of late adolescence, when lingering childhood fantasies can combust with burgeoning adult sexuality in a swirl of uncontrollable feelings.
  23. The Beauty Inside
    The film, pleasing and inoffensive, often amuses as it wrestles with the nature of familiarity as well as the question of where beauty resides.
  24. 90 Minutes in Heaven
    Rendering a miraculous premise dull, the film seems relatively uninterested in doing more than preaching to the choir.
  25. The Visit
    The director M. Night Shyamalan has a fine eye and a nice, natural way with actors, and he has a talent for gently rap-rap-rapping on your nerves.
  26. A Brilliant Young Mind
    This warm, robust movie ultimately transcends the formulas with which it flirts to become a far more subtle and honest result than a machine-tooled tear-jerker like “The Theory of Everything.” When the film doesn’t try to build up the usual suspense found in movies about competition, you sigh with relief.
  27. Sleeping with Other People
    Ms. Headland has a concept for a latter-day screwball comedy — two romantically challenged friends whose hang-ups create a roadblock to coupledom — but she doesn’t have the jokes or the emotionally textured characters that can fill in that conceit.
  28. Welcome to Leith
    Welcome to Leith wisely resists the kind of gimmickry that might have resulted in a stylistic hybrid of “The Blair Witch Project” or “Invasion of the Body Snatchers.”
  29. Time Out of Mind
    Mr. Gere is fascinating to observe in this role, partly because he refuses to solicit sympathy, or even attention. Time Out of Mind is an intimate portrait of a man caught between the desire to be left alone and a need for human connection.
  30. Coming Home
    There is terrible pain here, and the main interest of the film is in how the characters respond to it and what their response says about China’s understanding of its recent history.
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