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. The Voices
    Grisly but not especially suspenseful, tongue-in-cheek without any real wit, The Voices aims to hit the intersection of horror and comedy but tumbles into an uncanny valley of tedious creepiness.
  2. Lovesick
    This soulless, sterile romantic comedy has slipped under the wire to give audiences a headache and Matt LeBlanc’s reputation a relapse.
  3. Hawaizaada
    Mr. Puri works hard, but the strain shows and so do the movie’s seams. And Mr. Khurrana, who rides the line between ingratiating and annoying, has trouble carrying the movie.
  4. Above and Beyond
    These fond recollections of derring-do hail from a different era, and the movie’s one-sided view of history is bound to start arguments. The film is best appreciated as a straightforward testimonial: old war buddies’ hurrah against anti-Semitism.
  5. Supremacy
    Feeding over-the-top language to underdeveloped characters, Deon Taylor’s Supremacy dramatizes racism with an unvarying intensity that quickly becomes wearing.
  6. Wild Card
    Slow-motion knockouts follow, with Mr. Statham as sure-fisted as ever, but the “Expendables” director Simon West can only summon dead air in between. Mr. Goldman’s slightly offbeat underworld is not very convincing, and Mr. Statham’s thick voice and inexpressive acting suggest brain fog rather than gritty blues.
  7. Hard to Be a God
    Mr. German was just as stubborn in sticking to his personal vision (and revisions) as he was innovative in his storytelling, and he’s left behind a final opus that is hard to shake.
  8. The Devil's Violinist
    A shallow commentary on how an artist’s talent can be subsumed by the desire for fame and fortune. Or maybe just by the need to make a movie.
  9. Backstreet Boys: Show 'Em What You're Made Of
    It is insight-free and cliché-heavy, with the five sharing obvious reminiscences about the thrill of superstardom, visiting haunts from their youth, shooting baskets and occasionally rehearsing.
  10. Amira & Sam
    Written and directed by Sean Mullin, a comedian and onetime Army officer (he plays a comic in the film), Amira & Sam is more successful as a portrait of veteran alienation than as a romance.
  11. Alien Outpost
    The writing is so poor and the visual embellishments so few that some of the violence, like the frequent attacks on the base by local villagers, make little sense.
  12. Project Almanac
    The wish fulfillment of time travel tends to be fun to watch, and the director, Dean Israelite, feeds on the friends’ giddy escapades for a while.
  13. Girlhood
    Even as she stops at familiar stations on the road to maturity — problems at home and school, new friendships and first love — Ms. Sciamma revels in the risky, reckless exuberance of adolescence and in the sheer joy of filming it.
  14. Black or White
    Mike Binder’s steady, well-intentioned exploration of the racial tensions affecting two branches of a Southern California family, is notable for what it doesn’t try to do.
  15. My Name Is Hmmm...
    My Name Is Hmmm ... has its magical moments, but they are sabotaged by the director’s showy, ham-handed technique applied to a frustratingly threadbare screenplay that leaves you wanting more.
  16. Timbuktu
    Timbuktu is an act of resistance and revenge because it asserts the power of secularism not as an ideology but rather as a stubborn fact of life.
  17. Miss Hill: Making Dance Matter
    The director, Greg Vander Veer, makes this case through the sheer number of people he interviews.
  18. We'll Never Have Paris
    This derivative comedy, in addition to not being particularly funny, gives off a sense of telling us more than we needed to know.
  19. Americons
    Mr. Avgerinos’s glossy, overripe take on high-flying, unscrupulous lenders — the wolves of Main Street — deteriorates into a hot mess of montages, trailer-ready one-liners and thudding drama.
  20. Song One
    Heartfelt but enervated, Song One noodles around the Brooklyn music scene without stirring up magic.
  21. Salvation Army
    For a film rooted in a personal story, Salvation Army feels awfully remote.
  22. Against the Sun
    Against the Sun is a groaningly tedious survival story that will at least leave you with a renewed commitment to wearing sunscreen.
  23. Killers
    At heart a repulsive slash-and-bash with philosophical pretensions, Killers is classed up considerably by strong acting, a multi-strand plot and a tone that’s both nihilistic and mournful.
  24. The Humbling
    The movie is too shrewd to qualify as a jeremiad, but underneath the comedy are boiling undercurrents of anger and despair.
  25. Cake
    It’s the sort of well-intentioned independent effort that can make criticism feel like overkill. There’s nothing to hate, nothing to love. The movie’s greatest virtue is that it gives Ms. Aniston a little room to play against the somewhat sardonic tough-cookie type that she deploys in vulgar comedies.
  26. Son of a Gun
    Son of a Gun adds to the mystique that Australian crime films are meaner, nastier and more brutish than their American counterparts. But it changes style roughly every half-hour. And behind its macho preening is a preposterous, routinely executed story.
  27. R100
    Mr. Matsumoto, as if realizing that viewers might need to wake up, stuffs a ball gag in a child’s mouth and throws in some reflexive nonsense involving an old director and some critics who seem to be watching the same movie you are. They think it’s terrible and finally it’s hard to disagree.
  28. Strange Magic
    At once disarming and calculated, Strange Magic is a film of commodified feelings, evoking memories of other experiences — whether of Shakespeare, the original songs or authentic enchantment.
  29. The Boy Next Door
    Mr. Cohen, no stranger to delivering pulp product, employs visual clichés as if they were flash cards; no exposed thigh or made-you-jump reveal goes unexploited.
  30. Mortdecai
    What a frantically dull spectacle this vanity project is.
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