The New York Times' Scores

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For 20,304 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: 9,394 out of 20304
  2. Mixed: 8,445 out of 20304
  3. Negative: 2,465 out of 20304
20304 movie reviews
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  1. La Maison de la Radio
    As Mr. Philibert continues to pop in and out of different studios, in and out of the building, flitting from one face to the other, it feels as if he were searching for a story that never emerges.
  2. Satyagraha
    It hits its themes too squarely on the nose and hits them for about an hour too long.
  3. Wampler's Ascent
    It’s then, as nature documentary and inspirational device, that Wampler’s Ascent finds its power.
  4. The Last Christeros
    Mr. Meyer adheres to a cinema of broad experience by casting rugged but uninspiring nonprofessionals and focusing on the rebels’ long, lonely struggle rather than on triumph and tactics.
  5. Tiny Times 2.0
    As entertainment, this is vintage potboiler fare. But the movie is also revealing as fantasy, an artifact of 21st-century China’s youth culture transfixed by its rising fortunes and Western ways.
  6. The Lifeguard
    This directorial debut by Liz W. Garcia, a writer for television, bears some echoes of its creator’s origins, going from deft to trite in its drama and setting up character arcs that feel sappily resolved within its feature length.
  7. Dark Tourist
    Suri Krishnamma’s Dark Tourist takes an effectively unpleasant trip down the lost highway of a morbid mind before its bad choices start catching up with it.
  8. Abigail Harm
    Abigail and her Asian friend’s own “forest” is filled with overburdened metaphors and quivering emotions, quirks and tics and even regulation Malick-like twirling. Some of this is pretty; none of it sticks.
  9. Afternoon Delight
    Whether or not you wince, this meticulously acted movie, which won Ms. Soloway a directing award at the Sundance Film Festival, paints an accurate picture of how a segment of youngish, educated, affluent, white Americans converse. It is anything but inspiring.
  10. One Direction: This Is Us
    With a group so evidently versed in the visuals of rock history, it’s a shame that a filmmaker wasn’t hired who would pay homage to classic pop films instead of offering a satisfactory paid promotional.
  11. Passion
    Passion is often sleek and enjoyable, dispensing titillation, suspense and a few laughs without taking itself too seriously.
  12. Getaway
    The glimmers of wit and carnival humor in the “Fast & Furious” franchise are nowhere to be found in Getaway.
  13. Closed Circuit
    The director, John Crowley, handles Steve Knight’s snaky script capably, introducing the characters, their backgrounds and the political stakes in bold strokes.
  14. Tokyo Waka: A City Poem
    The film is a short, nimble consideration of the collision between the wildness of nature and the orderly bustle of modern urban life. It is also an essay on ornithology, Japanese culture and the challenges of pest control.
  15. The United States of Football
    The film is a thorough piece of reporting on the issues, characters and deeper cultural ramifications. But rather than present this impressive investigation as an objective reporter, Mr. Pamphilon makes the film, perhaps unnecessarily, a personal story.
  16. Una Noche
    For all its flaws, the movie, filmed with nonprofessional actors, is steadily gripping.
  17. Scenic Route
    An awkward, long-winded mash-up of therapy session, horror movie and survival tale with pretensions of psychological depth.
  18. The Frozen Ground
    The movie’s only fresh element is the wintry setting, which shrouds everything in a mood of weary fatalism. Otherwise, it’s the same old, same old, efficiently discharged and utterly disposable.
  19. Sparrows Dance
    Mr. Buschel, armed with an ear for diverting dialogue and actors who know how to sell it, somehow makes it all work.
  20. Savannah
    The film’s tale ends up being less rich than its lovely Georgia settings.
  21. Paradise: Faith
    Like it or not, Paradise: Faith sticks in your head. The fierce, indelible performance of Ms. Hofstätter, a regular in Mr. Seidl’s films, may make you cringe with revulsion, but it is utterly riveting.
  22. Thérèse
    Mr. Miller’s stolid approach — with its waxwork figures, postcard beauty, insistent tastefulness and glaze of politesse — feels far too comfortably of this world to mount a critique of it.
  23. The Trials of Muhammad Ali
    The film falls short of explaining Mr. Ali, who, like many outspoken individuals, can stubbornly repel scrutiny, nor will it pacify the many who opposed his conscientious objections. But it also underlines one enduring quality: namely, that he probably couldn’t care less what people think.
  24. Devil's Pass
    The film is ridiculous and laugh-out-loud funny, though it’s sometimes hard to tell if this is intentional or not. Either way, it remains riveting because of its effective tropes.
  25. Drinking Buddies
    Drinking Buddies, Joe Swanberg’s nimble, knowing and altogether excellent new film, refuses to dance to the usual tune.
  26. The Grandmaster
    The Grandmaster is, at its most persuasive, about the triumph of style. When Ip Man slyly asks “What’s your style?” it’s clear that Mr. Wong is asking the same question because here, as in his other films, style isn’t reducible to ravishing surfaces; it’s an expression of meaning.
  27. You're Next
    Adam Wingard’s You’re Next strays just enough from formula to tweak our jaded appetites. That it does so without spraying the gore to geyserlike excess says a great deal about Mr. Wingard’s sensibility.
  28. Short Term 12
    Even as the gathering melodramatic storms threaten to swamp this pungent slice of life, Mr. Cretton manages to earn your tears honestly.
  29. The World's End
    The buzz of The World’s End is more like an antic sugar high than a reeling, drunken stupor. There are no headaches, dry mouth or crushing shame at the end — no “Hangover,” in other words. I’ll drink to that.
  30. The Student
    Pitched somewhere between allegory and documentary, the film looks at its characters in a dispassionate, almost deadpan way. They’re something more than specimens under glass but something less than fully rounded people.
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