The New York Times' Scores

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For 20,324 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: 9,408 out of 20324
  2. Mixed: 8,449 out of 20324
  3. Negative: 2,467 out of 20324
20324 movie reviews
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  1. The Notebook
    The Notebook is a skillfully made movie, with sequences that may haunt you after you leave the theater. But it lacks the power to turn its virtuosity, or the emotional discipline of its remarkable young leads, into a source of insight.
  2. The Battered Bastards of Baseball
    The Battered Bastards of Baseball is an affectionate scrapbook of a documentary.
  3. The Tribe
    The Tribe deploys an elaborate, rigorously executed conceit in support of a weary, dreary hypothesis: People are awful. That might well be true, but there’s no need to shout.
  4. Lost Persons Area
    The filmmaker Caroline Strubbe’s affection for her characters is evident, even through the often oblique narrative.
  5. Young Ones
    This spare but potent melodrama revels in the desiccated landscapes provided by South Africa and photographed with dusty purity by Giles Nuttgens. Through his lens, the spectrum of sunbaked skin and parched dunes is as rich as any rainbow.
  6. Double Play: James Benning and Richard Linklater
    The graceful flow avoids the spoon-feeding of pocket biographies, and even if the material can feel lean at times, Mr. Klinger shepherds along a valuable encounter with a sense of easy, generally uncanned observation.
  7. 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?
  8. Bobby Jasoos
    The exuberant staging and Ms. Balan’s sly performance are the show here.
  9. Humpty Sharma Ki Dulhania
    The film is earnest, formulaic and sentimental. But, like Humpty, it has enough charm to wear down defenses.
  10. Mowgli: Legend of the Jungle
    The filmmakers are clearly trying to bring an uncommon maturity to the fantasy film, and in many respects they succeed. While not everything here works, what does is impressive.
  11. We Are Mari Pepa
    For all its enthusiastic vulgarity and truly terrible punk rock, We Are Mari Pepa is a gently endearing portrait of four amiable Mexican teenagers feeling their way toward adulthood.
  12. Mr. X
    Though Ms. Louise-Salomé’s film strikes a potentially irritating pose as a kind of artistic séance — shrouding interviewees in shadow, conjuring up clips with the drifting rhythm of the unconscious — it delivers articulate insights and has an elegant construction.
  13. No No: A Dockumentary
    As this smart and sympathetic profile shows, Dock Ellis didn’t need a no-hitter, stoned or otherwise, to define himself; he was his own best work.
  14. Expedition to the End of the World
    The film is essentially an evolved hybrid of global environmental documentary and the group-trip experiments of reality television. Its biggest step onto unfamiliar terrain might be its ambivalent ending, conveying uncertainty about what can or should be done next.
  15. Dead Snow 2: Red vs. Dead
    If the movie’s hilariously cruel treatment of the halt and the lame upsets you, you can enjoy the crisp cinematography, operatically repulsive effects and frequently witty dialogue.
  16. Stephen King’s A Good Marriage
    While the director, Peter Askin, employs an all-too-customary suspense arsenal (vertiginous stairway perspectives, foreboding thunderstorms, ominous headlights), Mr. King’s script offers a wealth of behavioral details.
  17. Kelly & Cal
    The performances of Ms. Lewis and Mr. Weston crackle with authenticity. Like a good punk-rock song, this bracingly honest, tough-minded vignette stays true to itself.
  18. Awake: The Life of Yogananda
    The film’s storytelling is straightforward, almost standard-issue, but the story itself is compelling, as is the testimony of devotees.
  19. Puss in Boots: The Last Wish
    It contains amusing jokes and has an old-fashioned impulse to tug at heart strings.
  20. Canopy
    The strength of Canopy is its filmmaking. With this haunting work, Mr. Wilson, joined by the talented cinematographer Stefan Duscio and the sound designers Rodney Lowe and Nic Buchanan, has made a promising debut.
  21. Jamie Marks Is Dead
    Temperate in tone but screaming with subtext, Jamie Marks Is Dead climbs above the current glut of supernaturally inclined entertainment by dint of a hushed unease that permeates almost every frame.
  22. Mardaani
    In her pursuit, Shivani pistol-whips perps, performs a flying tackle on a criminal astride a motorcycle, shoots an assassin at point-blank range and stabs an assailant through the hand. Her final confrontation with Walt is a sweaty aria of hand-to-hand martial arts combat.
  23. Once Upon a Time Verônica
    Mr. Gomes remains laudably faithful to his character, and Ms. Guedes’s bodily sense of languor gets across more than any crystal-clear dramatic statement would.
  24. Raja Natwarlal
    Mr. Deshmukh’s setup can be overly fussy — some of the con machinations seem needlessly complicated and hard to follow, or maybe not quite worth following — but his payoff works. And his cast, too, hits the right notes and finds an easy rhythm.
  25. The Humbling
    The movie is too shrewd to qualify as a jeremiad, but underneath the comedy are boiling undercurrents of anger and despair.
  26. I Am Eleven
    Ms. Bailey’s willingness to let the children talk and to let the viewer impose broader meaning elevates it.
  27. The Quitter
    The two leads are so low-key that they almost disappear at times, but The Quitter is a textured, heartfelt drama that achieves its modest goals.
  28. Take Me to the River
    Just keep your eyes on the old folks; they are where the heart — and the sweet soul music — of this movie lies.
  29. Altina
    In Peter Sanders’s sassy documentary Altina... there’s plenty of interesting ground to cover.
  30. Far From Men
    Camus sets the movie’s initial course, but Mr. Oelhoffen resolutely steers it home with political context, historical hindsight, an unambiguous moral imperative and a pair of well-matched performances; put another way, he makes the story his own.
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