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 Barefoot Artist
    Mr. Holsten, was a maker of the winning 2012 documentary “OC87,” a study of obsessive-compulsive disorder. His gift for portraiture shows only further refinement here.
  2. Uzumasa Limelight
    Directing with an old-fashioned tenderness toward his unassuming star, Ken Ochiai conjures a swan song to a waning art form and those who practice it.
  3. She's Beautiful When She's Angry
    As filmmaking, “She’s Beautiful” is meat and potatoes: It gets the job done without frills.
  4. Billy Bates
    Ms. DeLia serves it up in fragmentary fashion, with lots and lots of writhing, brooding, meaningfully vacant stares and so on. Several scenes are in danger of being unintentionally comic.
  5. Take Care
    The film’s director, Liz Tuccillo — a former writer for “Sex and the City,” an author of “He’s Just Not That Into You” and now developing a sitcom for Lauren Graham — is predictably facile with comic rhythms, though her dialogue tilts toward the glib, and her characterizations toward the familiar.
  6. Murder of a Cat
    The film, a first feature from Gillian Greene (wife of the director Sam Raimi, a producer here), has to settle for “sometimes amusing comedy” when it was probably aiming for “cult hit.”
  7. Red Knot
    Lacking a formal script, the actors struggle with a plot so elemental that it might have played more persuasively as a silent-screen melodrama.
  8. Dying of the Light
    The notion of an undercover agent with an untrustworthy mind is a great gimmick — and on a commercial level, Dying of the Light sometimes plays as just another high-concept vehicle for a comically overacting Mr. Cage. But Mr. Schrader’s vision is strong enough to rage against the hackier calculations.
  9. Delusions of Guinevere
    This low-budget film is often static and awkward... Smaller scenes, though, like those when Guinevere interacts with her tough-minded lawyer of a sister or an old classmate from high school, have a realness to them.
  10. The Foxy Merkins
    Behind its transgressive affectations, The Foxy Merkins is a sweet, playful divertissement.
  11. Pioneer
    Mr. Skjoldbjaerg, who also tapped Norwegian history with his bank robbery re-enactment “Nokas,” doesn’t convey a creeping atmosphere of moral rot so much as an irksome glumness.
  12. A Spell to Ward Off the Darkness
    The film is accessible and often hypnotic on an intuitive level.
  13. Concerning Violence
    The energy here feels more like that of a lecture than of a film; it’s an analytical tonic that’s potent to the point of bitter.
  14. Ungli
    While Mr. D’Silva’s basic structure and pacing are fairly fluid, his movie suffers from Bollywood’s typical kitchen-sink approach to filmmaking.
  15. Still Alice
    The test of realism in a movie like this — the thing that would separate it from a conventional, made-for-television disease melodrama — is whether you can imagine lives for the secondary characters when they aren’t on screen. Still Alice lacks that kind of thickness.
  16. Miss Julie
    Aside from the change of setting, Ms. Ullmann’s version is quite orthodox. Much more convincing than Mike Figgis’s 1999 screen adaptation, starring Saffron Burrows, it is a grueling slog through a hell of torment, cruelty and suffering.
  17. Zero Motivation
    Everything looks authentic, at least on the surface, from the desert dust to the messy desks and the sad, barren barracks. The characters, however, are largely cartoons, and their day-to-day exchanges are as vaguely defined as their interior lives.
  18. Wild
    In its thrilling disregard for the conventions of commercial cinematic storytelling, Wild reveals what some of us have long suspected: that plot is the enemy of truth, and that images and emotions can carry meaning more effectively than neatly packaged scenes or carefully scripted character arcs.
  19. Touch the Wall
    What Touch the Wall lacks is an inventive or compelling presentation. Heavy with platitudes about goals and attitude, it could easily be a short special on ESPN.
  20. Remote Area Medical
    Remote Area Medical, a documentary about the nonprofit organization of that name, certainly shows you what they look like, in blunt, tooth-decaying detail. But beyond that, it maddeningly refuses to take a stand or explore the questions it raises.
  21. The Kingdom of Dreams and Madness
    This affectionate documentary is more of a bonbon for longtime fans than an entryway for a broader audience.
  22. The Immortalists
    This sly documentary rises above its speculative hook by shifting to show the very human, and very mortal, sides of these would-be warriors of eternity.
  23. The Historian
    The film ultimately lands uneasily on the line between inside and insular, recalling an old saw about universities: The fights are so fierce because the stakes are so small.
  24. Before I Disappear
    Throughout the movie, you have the feeling of being dragged along on an impromptu journey by a filmmaker who is traveling without the benefit of a GPS device.
  25. Antarctica: A Year on Ice
    The extremes of Antarctica: A Year on Ice might seem routine to fans of nature documentaries, but the photographer and director Anthony Powell produces some dazzling imagery in his droll study of isolation way, way down under.
  26. The Babadook
    The brilliance of The Babadook, beyond Ms. Kent’s skillful deployment of the tried-and-true visual and aural techniques of movie horror, lies in its interlocking ambiguities.
  27. The Imitation Game
    The Imitation Game is a highly conventional movie about a profoundly unusual man. This is not entirely a bad thing.
  28. Women Who Flirt
    The film is exaggerated, ludicrous and simplistic. It shows a towering disdain for both men and women. But Angie and Marco have a certain good-natured charm, and there are some nice shots of Shanghai.
  29. Penguins of Madagascar
    The decision to focus on the series’s comic relief has resulted in the loosest and perhaps funniest film of the brand.
  30. Horrible Bosses 2
    What Horrible Bosses 2 lacks in nasty repartee, it tries to make up for in poorly staged comedy chases and break-ins. It is the Hollywood equivalent of a rambunctious little boy pointing to the toilet and squealing, “Mommy, look what I made!”
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