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. Citizen Koch
    It’s a hodgepodge that Michael Moore (whose movies Ms. Lessin and Mr. Deal have produced) and his editors might snappily dice together, but here the construction falls short.
  2. Edge of Tomorrow
    In Edge of Tomorrow, Mr. Liman brings Mr. Cruise’s smile out of semiretirement and also gives him the kind of physical challenges at which he so brilliantly excels.
  3. Supermensch: The Legend of Shep Gordon
    Mr. Gordon is likable, though it would be naïve to think he is unaware of cultivating his own image here.
  4. The Fault in Our Stars
    Though it is a tragic love story, it is also a perfect and irresistible fantasy.
  5. Emoticon
    With its underwritten characters (especially Walter) and scenes, it seems like a generic ABC Family plotline melded to a commercial for Facebook, Twitter and Skype.
  6. The Hornet's Nest
    The Hornet’s Nest lets its soldiers do most of the talking. The action — the rapid fire of automatic weapons, the crack of a sniper’s shot, the medevac rescues — is vivid.
  7. Lucky Them
    While Ms. Collette grounds Ellie and her emotions in a tough-minded plausibility, she can only hint at what the script fails to deliver: the complexities of a flawed woman’s midlife crisis.
  8. Korengal
    The sequel is much more than a collection of outtakes from the first film, augmented by footage shot later.
  9. Before You Know It
    There’s much sympathy but little tension in P J Raval’s new documentary.
  10. The Grand Seduction
    It’s adorable.
  11. Filth
    After a certain point, watching it is like listening to the ravings of an increasingly incoherent and abusive drunk.
  12. Age of Uprising: The Legend of Michael Kohlhaas
    The severely beautiful film is painted in a dauntingly austere manner, as if lost in a war against itself, with confrontations underplayed and the rural landscapes making more of an impression than the detoured drama.
  13. Elena
    With its free-floating imagery, Elena unfolds like a cinematic dream whose central image is water, which symbolizes the washing away of grief. But more than that, it represents the stream of life, with beautiful images of women floating through time.
  14. Night Moves
    Some of the climactic turns seem to follow the kind of narrative rules that this film, and this filmmaker, have otherwise defied.
  15. Maleficent
    Consciously or not, coherently or not, Maleficent tells a new kind of story about how we live now, not once upon another time. And it does so by suggesting, among other things, that budding girls and older women are not natural foes, even if that’s what fairy tales, Hollywood and the world like to tell us.
  16. We Are the Best!
    There is hardly a shortage of movies about rock ’n’ roll, but there are few as perfect — which is to say as ragged, as silly, as touching or as true — as We Are the Best!.
  17. A Million Ways to Die in the West
    A Million Ways to Die in the West seems serious about only one thing: its contempt for the gun-crazed macho ethos exalted in countless Hollywood westerns. You might call the movie “Revenge of the Übernerd.”
  18. Gebo and the Shadow
    Mr. Oliveira relishes the formality of conversation, and there is great pleasure to be found in listening to the actors and watching the small adjustments of posture and gesture that accompany their words.
  19. The Life and Crimes of Doris Payne
    The Life & Crimes of Doris Payne has an embarrassment of riches in Ms. Payne’s story, and it’s often a ripping good yarn, but, as a film, it lacks the nimbleness and resourcefulness of its subject.
  20. Grand Départ
    Although the subject is potent, the film, directed with a seemingly effortless commercial acumen, doesn’t burrow deeply.
  21. Wolf
    The movie’s grittiness — the director, Jim Taihuttu (“Rabat”), shoots Wolf in black and white — its intrigues, its graphic violence and Mr. Kenzari’s performance make for a worthy addition to the annals of gangster films, Interpol edition.
  22. A World Not Ours
    Mr. Fleifel helps walk us through the history with an ingratiating voice-over that lightens the seemingly permanent clouds of a dire history.
  23. Frequencies
    While the detached, deadpan tone and occasionally stilted acting might leave some viewers flat, there’s no doubting the fierce intelligence behind this admirable puzzle box of a movie.
  24. Lila Lila
    The actors — the deft Mr. Brühl and the charming Ms. Herzsprung — add what levity they can.
  25. The Love Punch
    Some wonderful actors add class to the material, which struggles to find a consistent register of cartoonishness.
  26. The Angriest Man in Brooklyn
    The movie is predictably sentimental at its root, but it’s also meant to be comedy, partly resting on Mr. Williams’s energetic but failed attempt to play a jerk.
  27. The Fatal Encounter
    For all its spectacle, The Fatal Encounter is wanting for profundity.
  28. Blended
    Most of Blended has the look and pacing of a three-camera sitcom filmed by a bunch of eighth graders and conceived by their less bright classmates. Shots don’t match. Jokes misfire. Gags that are visible from a mile away fail to deliver.
  29. Cold in July
    As the movie’s resident live wire, Mr. Johnson, obviously having the time of his life, is a hoot, and the feisty camaraderie among these three men gives Cold in July a euphoric goofiness.
  30. X-Men: Days of Future Past
    As usual, the characters — and the performers playing them — step unto the breach to provide just enough wit and feeling to make Days of Future Past something other than a waste of a reasonable person’s time.
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