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. Jersey Shore Massacre
    Acknowledging Hurricane Sandy, Jersey Shore Massacre reminds viewers that it’s hardly the worst disaster to hit the region. But it gives the Hindenburg stiff competition.
  2. Kink
    A fascinating profile of the online pornography provider Kink.com.
  3. Are You Here
    [An] endearing muddle, which flails in search of an identity.
  4. When the Game Stands Tall
    Thomas Carter, the director, whips us into a frenzy during the big winning-again-is-everything game, as all sports underdog movies must. But in the end, the only real impact is limited to a few scenes.
  5. Sin City: A Dame To Kill For
    The best antidote to all the glowering and posing is Eva Green: As Ava, the titular dame, she’s nothing short of a godsend.
  6. K2: Siren of the Himalayas
    Shedding light on the filmmaking process would have only enriched this well-wrought but limited extreme-sports portrait.
  7. Salvo
    A soulful romance, an existential action flick and something of a miracle movie — the appealing slow-burner Salvo hovers at the crossroads of genre.
  8. Kabbalah Me
    Kabbalah Me, which distinguishes between “narrow consciousness” and “expanded consciousness,” merely walks the middle ground.
  9. See You Next Tuesday
    Loving difficult people (and being difficult, and sometimes helpless) is the subject of the film’s drama, shot through with comedy and satire, thanks to Mr. Tobia’s razor-sharp, rapid cutting of scenes and needling dialogue.
  10. The One I Love
    Mr. McDowell manages and massages the mystery, even while he forgets to do much with the camera except periodically have it chase after someone. He can be frustratingly inattentive to the visual possibilities offered by the story.
  11. If I Stay
    The director, R. J. Cutler, whose previous work has mostly been in big- and small-screen documentaries, has a way of underplaying large feelings and amplifying subtle shifts of mood.
  12. Love Is Strange
    By the time the movie is over, you feel as if the people in it were friends you know well enough to tire of, and to miss terribly when they go away.
  13. Winter in the Blood
    The journey from page to screen may have battered Mr. Welch’s novel, but its lamenting heart beats loud and clear.
  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. Red Hollywood
    Insistently cinematic and dialectical, Red Hollywood has another virtue: It doesn’t toss everyone into a single leftist lump. Differences are articulated and illustrated, as individual voices rise and fall, fade and endure.
  16. The Admiral: Roaring Currents
    A turgid, foursquare naval epic.
  17. Jake Squared
    Jake Squared combines the most grating tendencies of meta navel-gazing with the sexism of reality television — pushing the limit of viewer tolerance to zero.
  18. A Will for the Woods
    It’s possible to admire the four directors’ unflinching depiction of the dying process, but the film is mostly unilluminating and grim — not least because almost all of the deaths discussed are untimely.
  19. 37: A Final Promise
    It’s an awkward mix of sentiment, underdeveloped relationships and rock ’n’ roll pretensions, and it never quite gels into the “Love Story” for the 21st century that it wants to be.
  20. 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.
  21. 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.
  22. The Word
    The Word is never boring, though that has as much to do with the mounting absurdities and ripe acting as it does with the resourceful use of crosscutting by the director, Gregory W. Friedle.
  23. Dinosaur 13
    Dinosaur 13 may not be the best documentary, but as a scientific soap opera, it’s a doozy.
  24. Moebius
    Mr. Kim does show an abiding concern here for the unsubtle realities of human libido and cruelty, but he’s alarmingly tone-deaf as he makes his points, and shows disregard for his female characters as he uses them up.
  25. Level Five
    Its themes are a bit nostalgic and some of its technology looks dated, but there is nothing else in theaters now that feels quite as new.
  26. Jealousy
    Mr. Garrel’s method goes beyond realism to achieve a kind of psychological intimacy that is rare and, in its low-key, meandering way, tremendously exciting.
  27. Abuse of Weakness
    It is hard to imagine that any other actress could muster the stubborn ferocity that Isabelle Huppert brings to the role of Maud.
  28. Life After Beth
    Written and directed by Jeff Baena, this first feature feels sloppily plotted and uncertain of its destination. Seasoned actors are left to yell pointlessly at one another, while Beth and the zombie angle slowly decompose.
  29. The Trip to Italy
    Like its predecessor, The Trip to Italy flirts with seriousness yet invariably, perhaps rightly, it always goes for the joke, the pun, the fun and the sun.
  30. The Giver
    In the end, it taketh — your time, patience and faith in newly imagined dystopias — more than it giveth.
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