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. Only Lovers Left Alive
    In many ways, Only Lovers Left Alive is among Mr. Jarmusch’s most voluptuous movies — full of rare and gorgeous images and sounds, heavy with wistful sighs and sprinkled with wry, knowing jokes — but it is also thin and pale, and perhaps too afraid of daylight for its own good.
  2. Hateship Loveship
    Ms. Johnson and the screenwriter, Mark Jude Poirier, have transformed a taciturn masterpiece into an absorbing, messy, modest story of damaged relationships.
  3. Being Ginger
    Sweet, funny and ultimately rather touching.
  4. Alien Abduction
    Matty Beckerman’s Alien Abduction repackages ancient legend for modern audiences in a found-footage story of streamlined efficiency.
  5. Watermark
    Always arresting and sometimes troubling, Watermark — aside from the odd comment here and there — neither lectures nor argues.
  6. Goodbye World
    As these overwritten characters cope and make fresh romantic missteps, the movie cruises obliviously along, littered with glib dialogue and howler developments.
  7. Nymphomaniac: Volume II
    The problem with Nymphomaniac: Volume II lies not in its display of erect penises and reddened buttocks, but rather in its dull narrative and overworked ideas.
  8. In the Blood
    Deficient even in most of its set pieces, In the Blood does Ms. Carano (and Caribbean tourism) few favors. Somebody, please give her a better script and director.
  9. Frankie & Alice
    Ms. Berry does a decent job with the role, and the film treats its subject matter respectfully, but the overall package doesn’t rise above ordinariness.
  10. Alan Partridge
    The plot of Alan Partridge (also known as “Alan Partridge: Alpha Papa”) is designed not for coherence but to maximize the chances for Mr. Coogan to riff in character and to bring his alter ego to the very edge of either improbable likability or utter awfulness.
  11. The Galapagos Affair: Satan Came to Eden
    The Galapagos Affair would be a much stronger film were it not padded with the dull reminiscences and speculation of the settlers’ descendants.
  12. Ilo Ilo
    This remarkably terse movie doesn’t waste a word or an image. It refuses to linger over each little crisis its characters endure. And its detachment lends a perspective that widens the film’s vision of people reacting to events beyond their control.
  13. Flex Is Kings
    Because of the rote and typical way of organizing a dance movie around a contest, the pace and interest lag even though the images and characters are fascinating. Yet the film is worth watching because of the strong cinematography and the glimpses of strange beauty in the dance moves.
  14. Under the Skin
    The movie’s eerie, climactic image challenges our conventional notions of human identity and leaves us reflecting on the possibility that every being in the universe is an alien in disguise.
  15. Captain America: The Winter Soldier
    Given how little creative wiggle room there is in properties like The Winter Soldier, it’s a minor triumph that the Russos imprint any personality on the movie, which is less a stand-alone work than a part of an ever-expanding multimedia enterprise.
  16. 10 Rules for Sleeping Around
    A sex comedy can sometimes get by, even if it is deficient in one of the two things that term promises. But a sex comedy that is short on both sex and comedy is unlikely to please anyone.
  17. The Unknown Known
    The film is a cat-and-mouse game in which each player thinks he’s the cat, making it both thrilling and disconcerting to watch. It is also a nature documentary about behavior at the very top of the imperial food chain and a detective story about the search for a mystery that is hidden in plain sight.
  18. The Retrieval
    Mr. Eska’s choices are thoughtful if sometimes studied: the movie is well cast with solid performers, and if the handsome digital images look overly sharp, as if outlined in razor, he consistently makes the most of his limited resources.
  19. Dom Hemingway
    Dom Hemingway is a bright, shiny bauble with next to no lasting power.
  20. Go Down Death
    Rather than distressed retro photography, or Guy Maddin mash-up fantasias, the movie’s often deadpan episodes feel like something out of one-act theater
  21. Jews of Egypt
    Mr. Ramses’s admirable eagerness to tell a good tale seems to have favored excitement over facts.
  22. Greencard Warriors
    At first, there is something a little too straightforward about the characters and their dialogue. But gradually, a group of strong, sure performances and the script’s twists... take hold, and we are fully involved.
  23. Nothing Without You
    Even if we can get past unlikely details (like a mental institution that allows patients to play with scissors), the drab locations and dull performances suck the air out of a story (by Mr. Irving and Rick Santos) that’s every bit as troubled as its unappealing heroine.
  24. Blumenthal
    Sharp yet overdetermined, Blumenthal doesn’t breathe naturally — it’s a comedy in a box. Just not a box that everyone will want to open.
  25. Cheap Thrills
    This is dark comedy indeed, and if viewed as such, it works deliciously.
  26. The Raid 2
    The pleasant surprise of Gareth Evans’s sturdy sequel to “The Raid: Redemption” is that neither its undercover drama nor its two-and-a-half-hour length bog down the bracing, and numerous, fight fests.
  27. Refuge
    Jessica Goldberg, who wrote and directed the film, prefers showcasing the somewhat treacly soundtrack to fleshing out back stories.
  28. Mistaken for Strangers
    A tale of two brothers, one band and a boatload of psychological baggage, Mistaken for Strangers is, like its maker, scruffy, undisciplined and eager to be loved. The big surprise is how easy it is to comply.
  29. Breathe In
    What distinguishes Breathe In from countless similar movies about marital discontent and disruption is the restraint with which the story is handled, the subtlety of its performances and its almost perverse refusal to turn into a prurient, heavy-breathing examination of adultery and its consequences.
  30. Hide Your Smiling Faces
    As the local boys (there are no girls) explore the natural world in summer, this gorgeously photographed movie bombards you with imagined scents of ripeness and decay.
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