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. When Marnie Was There
    The conclusion is rushed and poorly staged, yet the damp caul of loneliness that envelops the film’s early scenes feels moving and true.
  2. The Human Centipede III (Final Sequence)
    A caldron of unspeakable acts and unpalatable language, The Human Centipede 3 takes the bottom-feeding standards of its previous chapters (released in 2010 and 2011) to new lows of debasement.
  3. Tomorrowland
    Its idea of the future is abstract, theoretical and empty, and it can only fill in the blank space with exhortations to believe and to hope. But belief without content, without a critical picture of the world as it is, is really just propaganda. Tomorrowland, searching for incitements to dream, finds slogans and mistakes them for poetry.
  4. The Japanese Dog
    While it lacks the richness of some of Ozu’s masterworks, “The Japanese Dog” steers clear of sentimentality — an impressive feat, given that the title somewhat preciously refers to a toy dog. The movie depicts a hopeful side of Romania, peeking through even Costache’s lonely world.
  5. Güeros
    The story pops and swerves; the images are by turns comical, banal and ravishing; and the result is a briskly shaken cocktail made of equal parts provocation and comfort. You come away with a buzz that is invigorating and pleasantly familiar.
  6. It's Such a Beautiful Day
    Considering that he’s a stick figure, Bill, the main character in It’s Such a Beautiful Day, sure does have a complex internal life. And this animated film by Don Hertzfeldt does an amazing job of making you feel it, in all its sadness, terror and transcendence.
  7. Bombay Velvet
    For much of its first half, Bombay Velvet hums with the kind of energy found in movies by the 1970s American directors....Mr. Kashyap is perhaps too faithful to his Bollywood imperatives, though. In the grand tradition, his film is overlong (149 minutes) and overplotted.
  8. Childless
    There’s solid acting in Childless, but mostly there are words — torrents of them.
  9. Where Hope Grows
    Once the proselytizing takes over, so does the predictability.
  10. Our Man in Tehran
    There’s nothing like hearing a harrowing tale from the people who lived it.
  11. Know How
    Know How is a robust, youthful call to be seen, heard and appreciated — to be a little less invisible.
  12. Dark Star: HR Giger's World
    This disordered portrait seems heavily influenced by its equally jumbled setting.
  13. L for Leisure
    It is possible to admire Mr. Kalman and Ms. Horn’s ambition and at the same time have no idea what they were trying to achieve.
  14. The Connection
    Fetishizing the tired tokens of the American gangster movie, The Connection is a slickly styled, overlong pastiche. Yet its denizens have a retro glamour and the soundtrack a shameless literalness that’s rather endearing.
  15. In the Name of My Daughter
    Mr. Téchiné ’s methodical storytelling covers more narrative ground than the drama requires, sapping the film’s energy.
  16. Every Secret Thing
    [Amy Berg's] instincts about how to pace a true story serve her well with this imaginary one, and so do the performances by Ms. Fanning and especially Ms. Macdonald.
  17. Echoes of War
    The scriptwriters, Kane Senes (who also directed) and John Chriss, keep the family secrets too bottled up, but the actors, who include William Forsythe as the McCluskey patriarch, play it with dark vigor.
  18. Slow West
    The glorious cinematography, by Robbie Ryan, sharply illustrates the disparity between the rugged majesty of the landscape and the savagery of its outlaws and adventurers, who resemble vermin scuttling through the underbrush of a perilous no man’s land.
  19. Good Kill
    Mr. Hawke’s anguished performance gives Good Kill a hot emotional center.
  20. I'll See You in My Dreams
    A modest, quietly touching portrait of an older woman radiantly embodied by Blythe Danner.
  21. Animals
    Mr. Schiffli shoots in a fluid style, tweaking colors and focus to register changes in perception and feeling. Anxiety dissolves in sunshine and dreamy music, gathers up again in darker colors and more dissonant sounds and then winds up to a pitch of panic.
  22. Pitch Perfect 2
    Some of the underdog appeal is gone, but a victory lap can be its own kind of fun, and more is not necessarily something to complain about, especially when what there is more of is Fat Amy.
  23. The Film Critic
    The Film Critic is at once too clever by half and not as smart as it pretends to be.
  24. Mad Max: Fury Road
    Even in the most chaotic fights and collisions, everything makes sense. This is not a matter of realism — come on, now — but of imaginative discipline. And Mr. Miller demonstrates that great action filmmaking is not only a matter of physics but of ethics as well. There is cause and effect; there are choices and consequences.
  25. One Cut, One Life
    As much as the film is shadowed by a keen awareness of mortality, One Cut, One Life often pulses with an almost ecstatic vitality. In its vision of human existence, life is as messy and unpredictable as it is precious.
  26. Forbidden Films
    This is a documentary fascinated with and fearful of cinema’s potency, but it’s also devoted to the idea of open discourse, a stance that underlines the urgency of thinking about film critically.
  27. Two Shots Fired
    The droll, shape-shifting Two Shots Fired, the newest movie from the Argentine filmmaker Martín Rejtman (the subject of a current retrospective at the Film Society of Lincoln Center), accomplishes the strange feat of constantly thwarting expectations without ever varying its tone or moving the needle of excitement.
  28. Preggoland
    The movie’s flaw is that it mixes tones. Ruth, her relatives and her fellow workers are realistically played, but her gal-pal buddies are caricatures.
  29. Intrepido: A Lonely Hero
    Digressions involving suicide, child abuse, immigration and unions muddy the film’s meaning rather than illuminate it.
  30. Noble
    Ms. O’Kane’s brusque performance portrays Christina as a woman who acts on her principles and has little time for making nice. She is a compelling embodiment of the adage “What doesn’t kill you makes you stronger.”
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