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 Bag Man
    At least Mr. De Niro, who disappears from the movie until the end, seems to be enjoying himself. The force of his bonhomie gives this murky-looking, empty conceit of a film a desperately needed lift of facetious humor.
  2. Non-Stop
    Non-Stop doesn’t make any sense, but that’s expected, uninteresting and incidental to the pleasures of a slow-season Liam Neeson release as diverting as this one.
  3. Almost Human
    In this blood-splattered wasteland, neither original ideas nor acting skills flourish.
  4. Omar
    Mr. Abu-Assad shows a world from which all trust has vanished, where every relationship carries the possibility — perhaps the inevitability — of betrayal and where every form of honor is corroded by lies.
  5. Highway
    The cinematographer Anil Mehta’s lovely, unfussy images ground the film and show us a good bit of India... Mr. Ali’s story, though, wanders too long and too far, sometimes coming off like a forced mash-up of “It Happened One Night” and “Patty Hearst.”
  6. 3 Days to Kill
    By any reasonable standard, 3 Days to Kill is a terrible movie: incoherent, crudely brutal, dumbly retrograde in its geo- and gender politics. But it is also, as much because of as in spite of these failings, kind of fun.
  7. In Secret
    Ms. Olsen and the more persuasive Mr. Isaac may generate heat, but their performances and the filmmaking lack the frenzy that might explain how these two crazy kids turned into murderous fiends.
  8. Elaine Stritch: Shoot Me
    On a deeper level, Shoot Me is an unflinchingly honest examination of a woman who is aware that the end is approaching.
  9. The Standbys
    Ms. Riggs gives each actor a story arc of sorts, and all three are personable guides to this backstage world, explaining the process and terminology and talking openly about their lives and jobs.
  10. One Candle, Two Candles...
    Mr. Rosebiani evidently wants to avoid depressing his audience while addressing a serious subject, but his aims are likely to be lost in this film’s strained mugging.
  11. Black Out
    Taking a credibility-straining premise and running with it, the Dutch director Arne Toonen gives Black Out way more energy than sense. Luckily, his antihero, Jos (Raymond Thiry), lacks neither.
  12. Barefoot
    The movie acts like screwball comedy, but there are no laughs as Daisy and Jay’s connection lurches toward implausible romance.
  13. Angels in Stardust
    Angels in Stardust ends up being too tidy to be a great coming-of-age movie, but it’s a decent one.
  14. Pompeii
    Mr. Anderson displays his mastery as a director in the sword-fighting scenes... But the glares and eye rolls that bookend these scenes are what make this film both GIF-ready and campy fun.
  15. Chaplin of the Mountains
    The film embraces humor — would you want a one-legged man guiding you through a minefield? — without surrendering sensitivity. The screenplay may echo with atrocities, but it’s not consumed by them.
  16. Child's Pose
    It’s too bad that the filmmakers don’t allow an occasional breath of air into the sepulchral proceedings or ease up on the increasingly heavy-handed lessons.
  17. Lucky Bastard
    Robert Nathan’s Lucky Bastard is a sorry-looking found-footage thriller as unconvincing as its characters’ thrashing orgasms.
  18. Girl on a Bicycle
    It’s all light as a feather, with Jeremy Leven, the writer and director, landing some good multinational jokes along the way.
  19. Beijing Love Story
    There’s a little effort to give each story its own tempo and style; you notice bits and pieces plucked from other movies or TV shows.
  20. Date and Switch
    Like a fresh ripple in the near-stagnant high school movie pool, Chris Nelson’s Date and Switch balances formula with winning performers, genuine humor and a generosity of spirit that this genre too often lacks.
  21. Easy Money: Hard to Kill
    For the second film, Babak Najafi has succeeded Daniel Espinosa as director. The structure here is more mechanical, and the ambience scruffier, as the complicated story shifts from one disreputable lowlife to another.
  22. Jimmy P.
    This is a calm film about strong emotions, but it does find a reservoir of intensity in the two central performances, in particular Mr. Del Toro’s.
  23. Winter's Tale
    A thin line separates the magical from the preposterous, and by insisting so strenuously on its own magic, Winter’s Tale pitches helplessly into earnest ridiculousness.
  24. Adult World
    Mr. Cusack’s sardonic, understated portrayal of Rat, who is not quite what he says he is, grounds the movie in a wistfully cynical realism.
  25. Endless Love
    Directed by Shana Feste (“Country Strong”), this new Endless Love doesn’t have enough going on to make it memorably terrible: Banality is its gravest sin.
  26. About Last Night
    Many of the funniest parts seem to arise spontaneously from Mr. Hart’s uncensored brain and fast-moving mouth. He can swerve from tears to mock outrage to anatomically detailed obscenities faster than just about any other comic performer working today, and in Ms. Hall he has found an excellent match.
  27. Someone Marry Barry
    There’s nothing sophisticated or groundbreaking here, but the movie is a moderately good entry in the bro-grows-up genre.
  28. The New Black
    Ms. Richen elucidates an entire spectrum of views, from actively egalitarian to reactively homophobic.
  29. RoboCop
    A nicely cast, respectable remake.
  30. Hasee Toh Phasee
    While the film starts out as a seemingly fresh take on the romantic comedy, it is saddled with numerous contrivances and the clichéd trappings of the genre.
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