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. Irrational Man
    The horror of where rationalism can lead (the death camps, for one) hangs over Irrational Man and helps hold you as does Mr. Phoenix, even with some bad writing and Mr. Allen’s narrative laxity and lack of interest in how real people live.
  2. Trainwreck
    What’s energizing and exciting about Amy, especially when compared with the sexless cuties populating rom-coms, in which female pleasure is often expressed through shopping, is that her erotic appetites aren’t problems that she needs to narratively solve and vanquish.
  3. Ant-Man
    This film is a passable piece of drone work from the ever-expanding Marvel-Disney colony. It provides obligatory, intermittently amusing links to other corporate properties, serving essentially as a sidebar to the “Avengers” franchise.
  4. Court
    [A] quiet, devastating critique of the antiquated Indian legal system.
    • 34 Metascore
    • 30 Critic Score
    Jellyfish Eyes
    It is poorly shot and afflicted by tedious sound (lots of screaming and saccharine music) and inept special effects. It moves with either incomprehensible abruptness or tedious slowness, especially at supposedly suspenseful moments.
  6. SlingShot
    Although independently funded, it was directed by a longtime collaborator of Mr. Kamen’s with the clear purpose of getting the word out about the product.
  7. What We Did on Our Holiday
    A damp-eyed comedy whose banal title isn’t the only thing needing improvement.
  8. Tap World
    It would be better if it had a bit less proclaiming and a bit more nuts-and-bolts information, but still, it’s refreshing to see people bubbling over with enthusiasm for an art that is somewhat out of the mainstream.
  9. Strangerland
    The progressive wrinkles...are both the fascination and the frustration of Strangerland, which strains credulity with its secrets and revelations to facilitate its surprises.
  10. Meet Me in Montenegro
    Though Mr. Holdridge and Ms. Saasen feel genuine, they lack acting chops, and their screenplay’s self-consciousness about romantic clichés plays like a cliché itself.
  11. Mad Women
    This film overstays its welcome and has pacing problems. But its eclectic characters certainly linger.
  12. The Gallows
    The horror movie The Gallows starts with a decent if improbable premise, and it ends with a pretty good jolt. But in between, the film sure wears out the already tired found-footage device.
  13. Stations of the Cross
    As Maria crumples before our eyes, many will find Stations of the Cross heartbreaking and infuriating. Others may laugh out loud at her mother, a walking nightmare of pious, punishing rectitude.
  14. Tangerine
    Tangerine encompasses dizzying multitudes — it’s a neo-screwball chase flick with a dash of Rainer Werner Fassbinder — but mostly, movingly, it is a female-friendship movie about two people who each started life with an XY chromosome set.
  15. 10,000 km
    The director’s discipline is remarkable, and also a bit constricting.
  16. Do I Sound Gay?
    Mr. Thorpe’s explorations of a painful subject are an exercise in healing. His discovery of how many gay men share his anxiety and discomfort leads him to greater self-acceptance.
  17. Minions
    The good news is that the minions are more (unconsciously, if perhaps also strategically) in touch with their anarchic side than the typical onesie-wearing crusader, which suits the directors Pierre Coffin and Kyle Balda’s well-tuned sense of the absurd.
  18. Self/less
    [An] entirely preposterous, not entirely unenjoyable movie.
  19. Boulevard
    As truthful as it is, Boulevard conveys little insight into characters who are believable and well acted but incapable of change.
  20. Cartel Land
    Mr. Heineman has said that he wanted Cartel Land to feel like a narrative film as much as possible, and to an extent it does. What’s missing is a directorial point of view, including about vigilante groups, the so-called war on drugs, and Mexican and American policies and politics.
  21. Stung
    Mr. Diez, a former effects specialist, skillfully blends viscous textures with cheesy digital flourishes. The screenwriter, Adam Aresty, also earns points for the dialogue’s blithe hit-or-miss humor. But it’s Tilman Hahn’s sound design, with its unsettling buzz, that will burrow most unforgettably into your memory.
  22. Closer to God
    Having painted Victor as a transgressive offender, Mr. Senese backpedals furiously with a coda asserting the potential rewards of genetic manipulation. It isn’t convincing.
  23. Zarafa
    Zarafa may not be the most groundbreaking feat of storytelling, but it does have a giraffe in a balloon.
  24. Stray Dog
    Ms. Granik’s tact and curiosity are remarkable. So is her subject’s openness.
  25. Jackie & Ryan
    It uses a terrific score of bluegrass and old-timey songs, many of them written by Nick Hans, to underscore the connection and to evoke a fundamental American spirit epitomized by traveling musicians with banjos, fiddles and guitars.
  26. Jimmy's Hall
    The screenplay is vague not only about politics but also about the history of Jimmy’s unconsummated relationship with his former sweetheart, Oonagh (Simone Kirby), now married, whose wide Susan Sarandon eyes express a wistful sadness.
  27. Amy
    With Amy, Mr. Kapadia isn’t simply revisiting Ms. Winehouse’s life and death, but also — by pulling you in close to her, first pleasantly and then unpleasantly — telling the story of contemporary celebrity and, crucially, fandom’s cost.
  28. Mala Mala
    While affirming the dignity of its subjects, Mala Mala shows there’s little glamour attached to the pursuit of selfhood.
  29. A Poem Is a Naked Person
    This film, commissioned by Mr. Russell and directed by Les Blank, is among other things a strange and gorgeous artifact of its moment. Happily indifferent to the conventions of its genre, it’s neither the record of a concert nor a talking-head-driven biography.
  30. Magic Mike XXL
    Magic Mike XXL boldly flouts pop-cultural conventional wisdom. It’s often said that an explanation of a joke can’t be funny, and that the analysis of pornography is never sexy. But here is a coherent and rigorous theory of pleasure that is also an absolute blast.
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