The New York Times' Scores

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:
20324 movie reviews
  1. “Dhoom 3” is very much the Aamir Khan show.
  2. Messy in parts and at least 15 minutes too long, Personal Tailor is also cunningly acted and lushly photographed (by Zhao Xiaoshi) in dazzling candy-bright colors.
  3. The cosmic and the microscopic are casually — and delicately — juxtaposed in All the Light in the Sky, an evocative, slightly melancholic movie.
  4. The movie looks great, the writing is peppered with moments of wit, and there’s even an educational component built in as dinosaur facts are displayed on the screen.
  5. Intent on showing that Arbor and Swifty live in a world of radically limited possibilities, barely sustained by their families and failed by the state, Ms. Barnard locks them into a narrative prison. Their fates seem predetermined less by their circumstances than by the iron will and limited imagination of their creator.
  6. The story is nearly obscured by its schematic design (everyone doesn’t just have his or her reasons; he or she is also guilty), but there are mysteries, surprises and complexities, notably in the representation of the children and in Ms. Bejo’s thorny, layered performance with its strata of neediness, resentment and hope.
  7. The film dwells on the logistical and bureaucratic details of the process, and if it does not exactly write a fresh chapter in the history of art, it stands as an exemplary study in the sociology of art administration.
  8. Her
    At once a brilliant conceptual gag and a deeply sincere romance, Her is the unlikely yet completely plausible love story about a man, who sometimes resembles a machine, and an operating system, who very much suggests a living woman.
  9. It’s a frequently amusing, occasionally hilarious, rarely unpleasant grab bag of mild mockery and inspired lunacy, decked out with cameos from beloved comic performers and random celebrities.
  10. Instead of being contemptuous and sardonic, the portrait of inchoate adolescent longing in Paradise: Hope is poignant.
  11. With a character who can essentially say and do whatever she wants, you might expect a bit more.
  12. [A] small, likably sentimental film.
  13. A documentary that presents the sexual exploitation of young women as a systemic cancer that feeds on public misconception as much as male appetites.
  14. In addition to the copious flashbacks, there is an overly generous heaping of styles on display.
  15. Too slight to persuade, The Unbelievers is also too poorly made to entertain. The rational roots of atheism deserve a much better movie than this.
  16. Beatocello’s Umbrella could have been a terrible movie. In theory and largely in execution, it is little more than a promotional video for Kantha Bopha, a group of hospitals in Cambodia, and Dr. Richner, who has run them since the early 1990s. But what a guy!
  17. A muddled supernatural thriller that fails to capitalize on either its horrific prologue or eerie location.
  18. Mr. Walker is convincing as a man battling grief, exhaustion and, occasionally, an intruding outside world where lawlessness has taken hold.
  19. In their intensity, the actors’ incisive, impeccably coordinated performances are pitched slightly above normal conversation but not so much that “What’s in a Name?” shatters credibility.
  20. While there’s much to admire in how Mr. Tucci and Ms. Eve perform Mr. LaBute’s artful, apocalyptic duet, this is one seriously out-of-date tune.
  21. There are, once again, too many busy, uninterestingly staged battles that lean heavily on obvious, sometimes distracting digital sorcery. But there are also pacific, brooding interludes in which the actors — notably Mr. Freeman, an intensely appealing screen presence — remind you that there’s more to Middle-earth than clamor and struggle.
  22. Mr. Bale, like some other stars who embrace playing ugly, feels as if he’d been liberated by all the pounds he’s packed on and by his character’s molting looks, an emancipation that’s most evident in his delicately intimate, moving moments with Ms. Adams and Ms. Lawrence.
  23. The best parts of Saving Mr. Banks offer an embellished, tidied-up but nonetheless reasonably authentic glimpse of the Disney entertainment machine at work.
  24. This modest film observes evacuees from Futaba, a small town near the Fukushima Daiichi nuclear power plant, making do in their temporary shelter. Partly because this version of the movie was drastically edited to 96 minutes from 145, it feels sketchy and disjointed.
  25. Trying to gather too much into his net, Mr. Stewart gets a little lost, but his bottom line could not be clearer: When the oceans die, so do we.
  26. Mr. Verrette shows talent in conveying complex emotions, yet he’s handicapped by his grand ambition and an inability to do simple scenes well.
  27. For all the shooting, knifing and nattering about sleeper cells, the film feels weirdly static and terminally tired.
  28. After barely stirring to life, Night Train to Lisbon mercifully expires.
  29. Mr. Clark finds unexpected heart amid cliché and frigidity.
  30. A wondrous and slightly deranged story about oddballs embracing their differences.

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