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. Danny Collins
    What authenticity Mr. Cannavale and Ms. Bening bring to their roles is the sense of groundedness and integrity for one-note characters in a movie whose screenplay is little more than an efficiently executed outline.
  2. Tracers
    Corny twists and exchanges ensue in the wobbly story, but, delightfully, Daniel Benmayor’s film shows love not just for stunts but for the dynamic surfaces of the city.
  3. The Divergent Series: Insurgent
    Tighter, tougher and every bit as witless as its predecessor, The Divergent Series: Insurgent — the second segment in the cycle — arrives with a yawn and ends with a bang.
  4. Backcountry
    Mr. MacDonald’s ability to notch up dread moment by moment — with a rustle of leaves, the snap of a twig — is all the more impressive given that it takes a while to warm up to the two souls he cuts loose in those woods.
  5. Jauja
    The rounded-off corners of the almost-square frames evoke early movies and antique photographs, and there is wit and mischief in the way Mr. Alonso plays with the relationship between what we see, what we don’t see and what we expect to see.
  6. The Gunman
    It’s not a hard and fast rule, but in general when the main character, sometime in the third act, says, “I did some bad things ... ” and stares off into the middle distance, the implied end of the sentence is “including this movie.”
  7. Kumiko, The Treasure Hunter
    A delicate, haunting study of a woman who has in several senses lost her way.
  8. Amour Fou
    it can be a strategically off-putting movie yet one that also steals under your skin scene by scene and through Ms. Schnoeink’s slowly revealing performance as an ill-fated heroine turned future biographical footnote.
  9. The Lovers
    [An] inert, exasperatingly proportioned phantasmagoria from Roland Joffé.
  10. Like Sunday, Like Rain
    Ms. Meester and Mr. Shatkin mesh beautifully, so much so that you might feel a little cheated at the end.
  11. Walter
    In touching lightly on themes without committing to any of them, the movie falls flat. What should be sweet is saccharine, what might be profound seems trite.
  12. The Wrecking Crew
    Mostly, it’s hagiography, with stars like Cher and Brian Wilson used as character witnesses to the players’ greatness.
  13. Home Sweet Hell
    While the oafish men come off poorly, the treatment of women as nothing more than schemers and monstrous Martha Stewart clones seems woefully past its expiration date.
  14. Eva
    The story has several well-disguised twists, and although it’s a drama, it is sprinkled with touches of whimsy, thanks to a colorful collection of robots.
  15. The Cobbler
    The sophomoric humor may be absent, but in its place is only a soufflé of whimsy, seasoned with soot, that fails to rise.
  16. Champs
    Now and then this documentary by Bert Marcus rises above mere promotion, leaving you wishing it had tackled the sport’s difficult questions in more depth.
  17. Cymbeline
    Cymbeline has been branded a tragedy, a tragicomedy and a romance, and Mr. Almereyda embraces all three categories. The movie is by turns grim, grimly amusing and romantic, sometimes at once.
  18. 3 Hearts
    The screenplay relies on so many mechanical contrivances to make the story gripping that you can hear the rusty machinery clanking.
  19. Run All Night
    The movie, directed by Jaume Collet-Serra, who directed Mr. Neeson in the efficient airborne thriller “Non-Stop,” has two saving graces: a tight script and terrific acting.
  20. Cinderella
    Mr. Branagh’s ascension into big-budget studio directing largely remains a mystery, and there’s little in Cinderella beyond its faces and gowns that captures the eye or the imagination.
  21. Seymour: An Introduction
    So effective does it close the distance between you and Mr. Bernstein that afterward you may find yourself scanning the streets, hoping to catch sight of him, as if for an old friend.
  22. It Follows
    It Follows recycles familiar teenage horror tropes — a girl alone in a house, evil forces banging on a door — but its mood is dreamy. Seldom do you feel manipulated by exploitative formulas. The violence, when it comes, is sudden, and the camera doesn’t linger over the gore.
  23. Going Clear: Scientology and the Prison of Belief
    Mr. Gibney, who enters swinging and keeps on swinging, comes across as less interested in understanding Scientology than in exposing its secrets, which makes for a lively and watchable documentary if not an especially enlightening one.
  24. Of Horses and Men
    Mr. Erlingsson’s upbeat outlook suggests that generations of horses and men have coexisted and will continue to do so for centuries more.
  25. Allure
    These drifting, unresolved stories may lack dramatic punch, but Mr. Nikolic, who teaches film at the New School, draws lovely performances from his cosmopolitan cast and oodles of atmosphere from a spare piano-and-strings soundtrack.
  26. Earth's Golden Playground
    Mr. Horvath’s procedural, increasingly dry documentary takes the “rush” out of “gold rush.”
  27. Deli Man
    This documentary goes heavy on the schmaltz, in all senses.
  28. The Mafia Only Kills in Summer
    The swings from goofy to gory and jokey to tragic cancel one another out, and Mr. Diliberto’s near-constant voice-over is irksome. As is the pivotal romance.
  29. These Final Hours
    The lesson may not be particularly original, but the film has some striking moments as it follows him to his destiny.
  30. Road Hard
    Mr. Carolla’s wide-ranging résumé includes writing, voice-over work, talk-show appearances and a popular podcast, but it’s light on acting, and he shows why here, proving himself unable to perform the difficult trick of making a loathsome character sympathetic.
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