The New York Times' Scores

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For 20,303 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: 9,393 out of 20303
  2. Mixed: 8,445 out of 20303
  3. Negative: 2,465 out of 20303
20303 movie reviews
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  1. Rabindranath Tagore: The Poet of Eternity
    The movie is so eager to convince us of Tagore’s greatness as a universal soul (it was Tagore, by the way, who gave Gandhi the name “mahatma,” or great soul) that it fails to give us the man or a clear sense of context.
  2. Louder Than Words
    There’s a way to tell this story that wouldn’t come across as soggy or manipulative. However well intentioned, Louder Than Words doesn’t find that tone.
  3. 4 Minute Mile
    Most of the movie is a losing proposition.
  4. Rich Hill
    Regular hazily scored, gauzy interludes cut into the film’s immediacy and tone. But the filmmakers shade in humble, sympathetic portraits of these children.
  5. Cabin Fever: Patient Zero
    Less methodical and witty than its predecessors, Patient Zero often turns its infected characters into mindless, lurching zombies.
  6. Finding Fela!
    The behind-the-scenes component, juiced with razzle-dazzle excerpts from the “Fela!” production, is sound, in theory. But — like many sequences — it’s not so tightly executed, and this strand tends to knock the documentary off balance.
  7. The Strange Little Cat
    Mr. Zürcher has concocted something intimate yet otherworldly with this highly original debut.
  8. Kick
    A star can lift a movie like Kick, making its silliness sublime. That doesn’t happen here.
  9. The Almost Man
    The Almost Man may be slight, but how many films can pack equal amounts of emotional nuance and inappropriately sprayed urine into just 75 minutes?
  10. Happy Christmas
    More than in any of his previous films, Mr. Swanberg and his cast have refined a seemingly effortless style of semi-improvised storytelling so natural that it barely seems scripted. Life just happens.
  11. Child of God
    What Mr. Franco does have is Mr. Haze, whose mesmerizing performance gives the movie its ballast and its fitful, nervous energy.
  12. Calvary
    The limitations of Calvary are summed up by the insistent, dialectical chatter that almost mechanically pings and pongs between lightness and darkness, glibness and seriousness, insincerity and honesty, faithfulness and despair.
  13. Get On Up
    Like its gyrating, spasmodic staccato beats, Get On Up refuses to stand still. It whirls and does splits and jumps, with leaps around in time and changes in tempo that are jarring and abrupt and that usually feel just right.
  14. Guardians of the Galaxy
    Here, a pulse, wit, beauty and a real sensibility have been slipped into the fray, alongside the clockwork guffaws, kabooms and splats.
  15. Humpty Sharma Ki Dulhania
    The film is earnest, formulaic and sentimental. But, like Humpty, it has enough charm to wear down defenses.
  16. Drunktown's Finest
    The screenplay tracing the characters’ struggles has a tidy, workshopped feel, and the dialogue and acting can be gratingly flat. But what gives the film a certain confidence is its cultural specificity and the fresh clashes and contrasts it presents.
  17. Bobby Jasoos
    The exuberant staging and Ms. Balan’s sly performance are the show here.
  18. War Story
    Aiming for a moody portrait of psychological distress, Mark Jackson directs with a sluggish pace, an abstract style and a dismal aesthetic that rebuff involvement.
  19. The Killer Inside Me
    Michael Winterbottom’s nasty and uneven adaptation of Jim Thompson’s surpassingly mean little crime novel.
  20. The Fluffy Movie
    Bringing out truths about fatherhood, love and pride without dissolving into crowd-pleasing, that material feels like the genuine article. Fluffy, not fluff.
  21. Hercules
    As the plot clogs up with foreseeable reversals, wisecrack duties go to Mr. McShane, whose oracular character keeps wrongly predicting his own death. Like Hercules, the movie is plagued by a split identity: It’s half-slog, half-Mel Brooks.
  22. Come Back to Me
    Come Back to Me has seamier goals, employing a quasi-religious conceit to justify its shocks of gore and sexual assault. In that regard, at least, it is grotesquely predictable.
  23. Under the Electric Sky
    This glossy movie from Dan Cutforth and Jane Lipsitz about the Electric Daisy Carnival in Las Vegas feels the burden of promotional urges and lacks a sense of immersion in a multistage event attended by hundreds of thousands.
  24. Very Good Girls
    You can only imagine how much stronger the movie might have been had it fleshed out subsidiary dramas whose outlines are barely discernible.
  25. Beneath
    Sparing with scares and judicious with gore, the director, Ben Ketai (working from a screenplay by Patrick J. Doody and Chris Valenziano), proves better at summoning atmosphere than developing characters.
  26. The Kill Team
    Mr. Krauss might have served his material better if he had pulled the curtain back in The Kill Team, if only to explain why a movie that initially seems to be about one thing — as its shocker title suggests — is a partisan portrait of Specialist Winfield and his family.
  27. And So It Goes
    Relatable doesn’t have to mean routine, but Mr. Reiner doesn’t always bother to tell the difference.
  28. Lucy
    Buoyed by Ms. Johansson’s presence, Mr. Besson keeps his entertainment machine purring. He may be a hack, but he’s also a reliable entertainer.
  29. A Most Wanted Man
    Mr. Hoffman’s performance is so finely etched — and the story so irresistible — that the film becomes, almost inescapably, something of a last testament.
  30. Magic in the Moonlight
    Magic in the Moonlight is less a movie than the dutiful recitation of themes and plot points conducted by a squad of costumed actors. The tidy narrative may advance with clockwork precision, but the clock’s most prominent feature is the snooze button.
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