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. A Night in Old Mexico
    The director Emilio Aragón wisely trains the camera on Mr. Duvall. A Night in Old Mexico is his baby, and he rocks it.
  2. A Short History of Decay
    Despite Mr. Maren’s own ample experience as a writer, the references to book culture don’t feel vivid enough to act as more than scene-setting, and the film’s strength lies in the family relationships.
  3. Cold Bloom
    Cold Bloom, in its tightly controlled moods, comes to feel like a smaller and more tentative film than it might have been, despite an admirably frank ending.
  4. A People Uncounted
    Much of this movie is composed of survivors who give harrowing accounts of their experiences, and their warnings about rising ethnic hatred in Europe should not be ignored. But those seeking to learn in depth about, say, the dialects and traditions of the Roma should look elsewhere.
  5. Next Year Jerusalem
    What elevates the film beyond a video scrapbook, though, are the glimpses of the routines and slow rhythms of the nursing home before and after this adventure.
  6. Wolf Creek 2
    Even more inadvisable was the decision (whether made by Mr. McLean or his backers) to transform the mercurial psychopath Mick Taylor (a truly menacing John Jarratt) into a roguish cartoon.
  7. Hanna Ranch
    Like many tragic visionaries, Kirk Hanna lives on through his ideas long after his death.
  8. The Immigrant
    The film is earnestly and unabashedly melodramatic to an extent that may baffle audiences accustomed to clever, knowing historical fictions. But it also has a depth and purity of feeling that makes other movies feel timid and small by comparison.
  9. Million Dollar Arm
    Every conflict is softened by inspirational clichés.
  10. Godzilla
    It is at once bloated and efficient, executed with tremendous discipline and intelligence and conceived with not too much of either.
  11. American Jesus
    It’s not clear what Aram Garriga thinks he is accomplishing in his simplistic “American Jesus,” but he’s not accomplishing much.
  12. Horses of God
    In its demystification of these youthful slum dwellers, the film makes their embrace of terrorism frighteningly comprehensible. Because it follows its main characters over 10 years, from childhood into adulthood, it gives their fates a sense of tragic inevitability
  13. Still I Strive
    The innovative fictional narrative, woven throughout, demonstrates that many of these young actors have learned their lessons well.
  14. The Rescuers
    While the documentary marshals an impressive array of survivors and visits several international locations, it grindingly adheres to an unwieldy tour-style presentation, with more than a few rough spots and, at times, an unpolished look.
  15. Stage Fright
    It’s inspired enough to draw attention to ways that it doesn’t realize its potential.
  16. God's Pocket
    As this strained, foul-mouthed exercise in gallows humor proceeds, God’s Pocket sustains a facade of meanspirited deadpan comedy. But there are no laughs, not even smirks to be had.
  17. Moms' Night Out
    Little of it is funny or genuine, and the benefits and beauty of real faith are nowhere in evidence.
  18. Legends of Oz: Dorothy's Return
    All in all, the beloved kingdom of Oz is not well served, though there’s just enough detectable affection to keep it from feeling like a pure cashing-in.
  19. Chapman
    The more Chapman reveals, the less seems to be going on, and the more its quirkier developments... play like independent-film clichés.
  20. DamNation
    If the film is less persuasive for its lack of balance, it’s at least heartening to learn that undesirable dams can be destroyed and their rivers restored to their old ways and means.
  21. Farmland
    Smooth and folksy, it traffics in broad, unchallenged claims that serve a single purpose: to persuade us that the only thing wrong with today’s farming methods is our misinformed perception of them.
  22. Devil's Knot
    In the opening images of Devil’s Knot, the camera sets a menacing, Hitchcockian mood by stealthily creeping into the woods where the murders took place. But the movie settles into being a police procedural with the tone of a superior episode of “Law & Order: SVU.”
  23. Fed Up
    A whirlwind of talking heads, found footage, scary statistics and cartoonish graphics, the movie is a fast, coolly incensed investigation into why people are getting fatter.
  24. The Double
    It never quite rises to the full potential of its theme or fully inhabits its intricately imagined space. It’s cool but not haunting — a brainteaser rather than a mindblower.
  25. Palo Alto
    What tethers the movie and especially April and Teddy is how Ms. Coppola captures that exquisitely tender, moving moment between fragile, self-interested youth and tentatively more outwardly aware adulthood, a coming into consciousness that she expresses through their broken sentences, diverted glances and abrupt turns.
  26. Chef
    [A] shallow but enjoyable all-American morality play.
  27. Neighbors
    Neighbors is not a great film and does not really aspire to be. It is more a status report on mainstream American movie comedy, operating in a sweet spot between the friendly and the nasty, and not straining to be daring, obnoxious or even especially original. It knows how to have fun. How very grown-up.
  28. Sol LeWitt
    The on-camera absence of its subject and its overall indifference to matters of biography make Sol LeWitt a welcome departure from most documentaries about artists, as well as a fitting and serious tribute to his art.
  29. Llyn Foulkes One Man Band
    The filmmakers are blessed and cursed with a subject who seems to lack the usual filters. We in turn witness Mr. Foulkes in action, at length — revamping his works, railing against the art world and speaking his neurotic mind.
  30. Breastmilk
    Empathetic and nosy, Ms. Ben-Ari is no unequivocal cheerleader for breast over bottle: If anything, her subjects’ time-consuming struggles and evident exhaustion could put a damper on the natural-feeding plans of the most sanguine new parent. Yet the film isn’t a downer.
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