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. Contracted: Phase II
    Mr. Mercer’s character doesn’t attract sympathy comparable to that for Ms. Townsend’s (Ms. Lore’s Harper fares better), but there is no holding back on the worms, dermatologic nightmares, venereal-disease metaphors and hints of future sequels. Start stocking up now on the Pepto-Bismol.
  2. Chloe and Theo
    Chloe & Theo is surprisingly amateurish in concept and execution. There’s a line between a narrative that’s deliberately simple and one that’s painfully childish, and it’s not all that fine. But it’s one Chloe & Theo crosses repeatedly.
  3. The Golden Dream
    Buoyed by the wonderfully natural performances of its young leads, La Jaula de Oro is a compelling social-realist drama that owes much to the style of the British social-realist filmmaker Ken Loach.
  4. Steve Jobs: Man in the Machine
    If this isn’t the iPhone of documentaries, it gets its point across, and unlike Mr. Gibney’s Scientology exposé “Going Clear,” this movie has a harder target (albeit with its own devoted following).
  5. The Transporter Refueled
    The Transporter Refueled is crass and nonsensical, but it is hard to hate a movie in which a medical anesthetic is administered with a nightclub fog machine, the weapons include a ringed life preserver, an escape from a moving plane continues by car onto a jetway and the touch-screen banking software appears expressly designed for double-crossing.
  6. Before We Go
    The chemistry makes the movie’s pleasures easy to surrender to, albeit fleetingly.
  7. Dragon Blade
    Dragon Blade is the kind of nutsy maximalist entertainment that isn’t content merely to tap a handful of influences. Instead, it stuffs an entire encyclopedia of dicey ideas (visual, narrative, political) into a blender to create a wacky, eyeball-popping and -glazing extravaganza.
  8. Dirty Weekend
    What’s most curious is Mr. Labute’s kid-glove treatment of the scenario, forgoing real sexual gamesmanship, much less the opportunistic rug-pulling in past films. That baseline of sincerity is refreshing to a point, yet he’s written a fairly weak-tea story of conflicted self-discovery that would make for a mildly engaging evening on the stage.
  9. A Sinner in Mecca
    Mr. Sharma has created a swirling, fascinating travelogue and a stirring celebration of devotion.
  10. Blind
    Blind evokes a dreamy, dour fusion of Charlie Kaufman and Ingmar Bergman. Its few flashes of wry humor are outweighed by mystically beautiful images.
  11. Creep
    The film is remarkable, considering its minimal means and surprising lack of bloodshed, given the genre. Does it stay with you? A little.
  12. A Walk in the Woods
    It is unexpectedly moving and occasionally delightful to spend time with these titans of cinema as they walk and sometimes wobble, delivering words that become meaningful because they’re lucky enough to be spoken by Mr. Redford and Mr. Nolte.
  13. The Black Panthers: Vanguard of the Revolution
    What is clear from this sober yet electrifying film is that the power of the Panthers was rooted in their insistence — radical then, radical still — that black lives matter.
  14. Phantom
    The hapless secret agent heroes of Kabir Khan’s revenge thriller Phantom, could have used some pointers before being sent into the field.
  15. My Voice, My Life
    There are few feelings as glorious as spreading your wings onstage for the first time. Ruby Yang captures that rare electricity in her documentary My Voice, My Life, about Hong Kong teenagers who put on a show.
  16. Fever
    Fever doesn’t come to a neat ending and ultimately feels unsatisfying. Before then, though, it’s an intriguing and intelligent update of a true crime still chilling more than 90 years later.
  17. Z for Zachariah
    Maintaining a strict formal allegiance to reserve and restraint, [Mr. Zobel] shapes a dreamily elegant emotional ballet from glances and gestures and subtle shifts in power.
  18. We Are Your Friends
    The action slowly builds and breaks down, with dance beats kicking in periodically. Not much resonates here; it’s all facile entertainment.
  19. Memories of the Sword
    Though rich in period detail, the movie grows tiresome with solemn, protracted soap-operatic encounters laden with glowering stares and tearful outbursts.
  20. When Animals Dream
    When Animals Dream is a beguiling parable of cruelty and the resistance to it. Its special effects are pretty minimal, its scope is modest, and it is, in the end, more touching than terrifying, intent on jolting its audience not with dread but with compassion.
  21. Unsullied
    The actors, including Erin Boyes as another captive, try to infuse their characters with depth, and the cinematographer, Scott Winig, lends the proceedings a professional gloss, especially in nighttime scenes. But their efforts cannot lift the story beyond its thin, lurid premise.
  22. I Touched All Your Stuff
    The filmmakers pop their story’s bubble in a confusing finish, but it all ends up feeling like a mystery novel that simply never revealed the key clues.
  23. 7 Chinese Brothers
    Drifting and sweet, 7 Chinese Brothers (like Mr. Byington’s gentle 2009 love story, “Harmony and Me”) leaves a melancholy but hopeful aftertaste.
  24. Zipper
    The script, by Ms. Stephens and Joel Viertel, though lurching at times into overstatement, is enhanced with worthy if fleeting performances from John Cho and Christopher McDonald as Sam’s colleagues. Ray Winstone, as a journalist, effectively melds sleaze and compassion.
  25. The Second Mother
    The Second Mother goes soft toward the end, defusing its conflicts too easily and inconsequentially.
  26. Queen of Earth
    Ms. Waterston, a Modigliani in motion and often in black, easily holds your attention, but it is Ms. Moss, with her intimate expressivity, who annihilates you from first tear to last crushing laugh.
  27. No Escape
    Directed breathlessly by John Erick Dowdle (“As Above/So Below”), the movie is filled with jittery shots from hand-held cameras, and hurtles along at a pace that is especially helpful in racing past the holes in the paper-thin plot.
  28. Searching for Home: Coming Back From War
    There is little new insight, although the film does create an instructive tension between admiring bravery and sacrifice and being appalled by war itself.
  29. The Mend
    Directing his first feature after some shorts, John Magary digs into his characters with fresh eyes and a sly sense of adventure.
  30. She's Funny That Way
    There’s barely a whiz-bang punch line or smoothly executed setup to be found in a movie that longs to be a sparkling bedroom comedy and winds up a tortured, fizz-free farce.
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