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. 3 1/2 Minutes, 10 Bullets
    At the time of a fervent national debate on race and justice, part of what is impressive about 3 ½ Minutes is the cool temperature at which it is often served.
  2. Rubble Kings
    At slightly more than an hour, the film may not be definitive, and its chronology is a little fuzzy. Even so, Rubble Kings is a fascinating, valuable work of social, music and New York history, a celebration of a peaceful revolution by those who helped birth it.
  3. Balls Out
    Besides a clever, blithely ribald script by Bradley Jackson, the movie benefits from a potent “Saturday Night Live”-empowered cast.
  4. Eden
    Restrained but never tentative, remote yet enormously affecting, the movie’s evocation of artistic compulsion is accomplished with confidence and verve.
  5. The Overnight
    The Overnight ends just as it starts to get interestingly messy, tapping into something real and sweetly touching.
  6. Dope
    It’s easy to root for Malcolm, to admire his pluck and share in his enthusiasm. It may be a little harder to buy what he and Dope are selling.
  7. Tentacle 8
    Mr. Chi, making his feature debut with Tentacle 8, lavishes attention on his characters at the expense of the through line binding them.
  8. Inside Out
    Inside Out is an absolute delight — funny and charming, fast-moving and full of surprises. It is also a defense of sorrow, an argument for the necessity of melancholy dressed in the bright colors of entertainment.
  9. The Tribe
    The Tribe deploys an elaborate, rigorously executed conceit in support of a weary, dreary hypothesis: People are awful. That might well be true, but there’s no need to shout.
  10. Hamari Adhuri Kahaani
    The movie may suffer from a surfeit of excesses, but it does have arresting, if overwrought, things to say about domestic abuse in India.
  11. The Wolfpack
    Documentary has a tradition of trafficking in the misery of other people’s lives, so it’s a relief that “The Wolfpack” doesn’t drag you down or offer packaged uplift, but instead tells a strange tale with heart and generosity.
  12. Madame Bovary
    What wildness there is in this Madame Bovary belongs to Ms. Wasikowska, an actress who is frequently more interesting than her material.
  13. Chagall-Malevich
    It’s a literally colorful and playful attempt to portray battlefields of artistic ambition and political struggle. But its dialogue and characters are also written as subtly as a radical manifesto.
  14. The 11th Hour
    Ms. Basinger commits to her disturbed character. But the script (by the director, Anders Morgenthaler) makes Maria’s behavior so reckless — at times, she’s practically begging to be mugged or worse — that we have no chance of sympathizing with her.
  15. The Stranger
    The movie benefits greatly from Mr. Amoedo’s largely steady direction and the uniform acting skills of its Chilean cast (performing in English).
  16. An Open Secret
    An Open Secret is affecting, particularly when the victims recount their experiences in voices that crack with emotion or pause with pain. Even if you do look away, hearing them speak is enough.
  17. Set Fire to the Stars
    Set Fire to the Stars barely skims the surface of characters you wish had been given more dimension, but as a snapshot of postwar academia and its pretensions, it exerts a creepy fascination.
  18. Live From New York!
    “Saturday Night Live” deserves much better than the documentary equivalent of what a book editor would surely dismiss as a rushed, careless clip job.
  19. The Yes Men Are Revolting
    The Yes Men Are Revolting, their third film, has a personal poignancy that is missing in the forerunners, “The Yes Men” (2003) and “The Yes Men Fix the World” (2009).
  20. Me and Earl and the Dying Girl
    The film is touching and small, but also thoughtful and assured in a way that lingers after the inevitable tears have been shed and the obvious lessons learned.
  21. Jurassic World
    There’s more flab than muscle packed on this galumphing franchise reboot, which, as it lumbers from scene to scene, reminds you of what a great action god Steven Spielberg is. Too bad he didn’t take the reins on this.
  22. United Passions
    United Passions is one of the most unwatchable films in recent memory, a dishonest bit of corporate-suite sanitizing that’s no good even for laughs.
  23. Wild Horses
    The one solid element in Wild Horses is Mr. Duvall’s squinting, stone-faced portrayal of a gruff, crusty patriarch beginning to crumble.
  24. Hungry Hearts
    The film’s initial naturalism is warped by overheated film technique and a dead-ending screenplay.
  25. Freedom
    Freedom does not remotely approach, say, “12 Years a Slave” in its production values or dramatic impact. But it does offer Mr. Gooding, whose weathered countenance is no longer the exuberantly cherubic face featured in “Jerry Maguire.” In its place is something more interesting: a quiet, rugged and arresting conviction.
  26. Doomsdays
    Wrapping an existential question in the random rhythms of the road movie, Doomsdays comes at you sideways, its melancholy catching you off guard.
  27. We Are Still Here
    We Are Still Here will make you scream and make you laugh, and possibly leave you speechlessly gesticulating at a charred zombielike ghost in the background. But the peak moments are too few.
  28. The Nightmare
    While "Room 237" sought evidence for its most outlandish conceits, The Nightmare declines to delve. As the testimonies grow repetitive, the strategy suggests willful ignorance.
  29. Patch Town
    While the results are more creepy than charming — too childish for adults, though not necessarily too dark for children — it is hard to fault Mr. Goodwill for trying.
  30. Charlie's Country
    Unlike those in many art-house releases, this wilderness is not an abstract arena for playing out alienation but a living, breathing land with deep, abiding significance for Charlie and his fellow Aborigines cast adrift.
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