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. Remington and the Curse of the Zombadings
    The film’s questionable continuity, bargain-basement effects and overload of gay clichés may not be to everyone’s taste, but its queer-eye-for-the-undead-guy exuberance and warmth of spirit are irresistible.
  2. Blue Is the Warmest Color
    Mr. Kechiche’s style is dizzy, obsessive, inspired and relentless, words that also describe Adèle and Emma and the fearless women who embody them. Many more words can — and will — be spent on “Blue Is the Warmest Color,” but for now I’ll settle for just one: glorious.
  3. Bastards
    The story grips you entirely even if Ms. Denis’s worldview here finally feels like a tomb: terrifying, pitiless, inevitable.
  4. Shahid
    Mr. Mehta has done something difficult. He has made a film of conviction that’s neither plodding nor preachy.
  5. Boss
    Boss is billed as an action comedy, but it isn’t always clear what is part of the joke and what isn’t.
  6. The Taiwan Oyster
    Part romance, existential meditation and dark comedy, the film, like its perplexed characters, isn’t always certain of what it wants to be. Yet in the end it does pretty well for itself, despite those self-doubts.
  7. Cut to Black
    A mildly engaging lowlife odyssey that struggles not to choke on its own style.
  8. Seduced and Abandoned
    Seduced and Abandoned may be the year’s most entertaining put-on.
  9. Torn
    Slowly uncovering the prejudices that calamity can unleash, Michael Richter’s screenplay lays bare the damage wrought by Sept. 11 while deftly dodging hysteria, wondering how we differentiate between innocent teenage behaviors and dangerous red flags.
  10. The Prime Ministers: The Pioneers
    A bit overstuffed with history and tales of perseverance, the film doesn’t have room for balanced political analysis or even exposition at times. It’s an omission that feels like a missed opportunity, but maybe that will be resolved in the next installment.
  11. Peaches Does Herself
    Feeling a little stage-bound because of frequent far-back long shots, the show can’t quite become a true extravaganza on screen. But Peaches — even without commanding the screen — shines through, vulnerability winning out over bravado here.
  12. Lost for Words
    The conventions are trundled out in Stanley J. Orzel’s cross-cultural romance, Lost for Words, but not the tension or the chemistry.
  13. The Human Scale
    If the result sometimes feels like a sedate lecture, the global journey strongly enlivens the lesson; it’s fascinating how alike and how different cities can be, and more fascinating to imagine what they may become.
  14. Hellbenders
    This movie has the humor and insouciant pileup of bizarre and disgustingly beautiful images of a cult classic on late-night cable.
  15. Haunter
    Lifted by the sepulchral Stephen McHattie as Lisa’s nemesis, the film’s frazzled thought experiment becomes an adequate yarn.
  16. Enzo Avitabile Music Life
    The fuzziness of Mr. Avitabile’s sentiments on boundary-blind unity is echoed in the movie’s slack, tag-along portraiture.
  17. American Promise
    Race is raised as a possible reason for Idris’s and Seun’s problems, and then other potential determinants (a learning disorder, illness) are introduced. But the filmmakers don’t engage with these life events and issues: They just line them up as if their significance were transparent.
  18. CZ12
    The film is about exotic locations (including a volcano), garish humor (often at the expense of Mr. Chan or women), fisticuffs, stunts and frenetic visual bombast.
  19. Big Ass Spider!
    The director, Mike Mendez, shows no signs of knowing how to make campy horror work the way that the creators of similar movies on Syfy do. It has to be either subtle or over the top. This is neither.
  20. Blood Brother
    A stirring documentary directed with narrative depth and unguarded heart.
  21. 2 Jacks
    Written and directed by Bernard Rose (“Immortal Beloved”), 2 Jacks has a pleasing circular structure, and it doesn’t push the parallels between old and new Hollywood to absurd limits.
  22. Escape Plan
    The script never gives them the kind of memorable exchange that makes fans howl with delight. But all in all, Escape Plan does what it sets out to do.
  23. I'm in Love with a Church Girl
    This is a message film with the narrative sophistication of a recruiting pamphlet.
  24. Paradise
    Like much of Ms. Cody’s work, Paradise plays out in quippy sound bites, only this time they feel entirely unsuited to Lamb’s sheltered background.
  25. All Is Lost
    The ancient Greeks believed that character should be revealed through action. I can’t think of another film that has upheld this notion so thoroughly and thrillingly. There is certainly no other actor who can command our attention — our empathy, our loyalty, our love — with such efficiency.
  26. The Fifth Estate
    This version of the WikiLeaks story, directed by Bill Condon from a script by Josh Singer, is a moderate snoozefest, undone by its timid, muddled efforts at fair-mindedness.
  27. Carrie
    Ms. Peirce plays up the story’s religious themes and Carrie’s burgeoning power as she discovers her telekinetic gifts, even as the dread of the female body that deepens Mr. De Palma’s version somehow goes missing.
  28. 12 Years a Slave
    The genius of 12 Years a Slave is its insistence on banal evil, and on terror, that seeped into souls, bound bodies and reaped an enduring, terrible price.
  29. Camille Claudel 1915
    Ms. Binoche’s portrayal of Camille is one of the most wrenching performances she has given.
  30. Kill Your Darlings
    Mr. Krokidas deftly shows how the ambition to write is entangled with other impulses.
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