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. Because the film, which affects the style of “United 93,” offers no new insights, theories or important information, you’re left wondering why it was made.
  2. Mr. Porterfield might sometimes be too subtle for his own good, but by taking us on a low-key ramble through the ever-shifting feelings of a fractured family, he has woven a dreamy, detached chronicle of dissolution and renewal.
  3. A sardonic, smart screwball comedy.
  4. A.C.O.D., an unfunny comedy about a guy mooning over his parents’ divorce decades later, is so eager to please it’s hard to hate. But it’s sluggish even at 87 minutes, clichéd and gives you nothing of interest to look at other than some familiar faces.
  5. Ms. Passon ultimately seems to skirt some of the larger life questions hinted at along the way.
  6. Remarkable as much for its insights as for its audacity, The Dirties approaches school violence with a comic veneer that slowly shades into deep darkness.
  7. Unfortunately, Linsanity, following the conventions of the sports bio genre, ends at its peak, with only a brief nod to these events. Lin raised his game’s possibilities; you just wish that Mr. Leong had raised his.
  8. A blistering fictionalized tale straight out of China, A Touch of Sin is at once monumental and human scale.
  9. It feels like a halfhearted bluff and has the stale smell of yesterday’s after-shave.
  10. When insects are the best thing in your movie, it’s probably time to retire.
  11. The burning question is why Mr. Hyde’s story has never been made into a feature film. You’ve got big sky, a crazy but magnetically confident old coot, a noble but seemingly hopeless quest and a triumphant ending.
  12. Besharam is frequently crude, but it’s also unusually clean in its plotting. And it has a kind of unblushing vitality that is especially strong in the dance numbers, which feature big crowds, lots of color and an old-fashioned Bollywood desire to please.
  13. This static documentary portrait relies on the usual panning over photos and tag-team interviews, but the format, like the radio length of a song, doesn’t get in the way of its subject’s heart.
  14. The film over all is a pulse-pounding success.
  15. This human story is profound enough to stand on its own.
  16. The documentary is not really about these older people but about this couple.
  17. Poor computer-generated effects give the movie an unsettling, two-layered feel.
  18. For all of Mr. Cuarón’s formal wizardry and pictorial grandeur, he is a humanist at heart.
  19. Let the Fire Burn relentlessly sustains its tragic momentum.
  20. Stories of humanized hit men make for a small but well-trod patch of screenwriting terrain, but The Dead Man and Being Happy quickly transcends that territory to become a beguiling road movie.
  21. The Citizen is a heartfelt plea for charity, tolerance and all-around loving kindness — admirable aims sadly shackled to Sam Kadi’s inexpert direction.
  22. At once overstuffed with interviews and intellectually underdeveloped, the movie charts the area’s music industry and what is lyrically if elusively called the Muscle Shoals sound.
  23. What little we learn of Pascal, who has worked in Switzerland as a shepherd for more than 30 years, and Carole, who is a former dietitian, fits in a scene or two, but their practical journey yields a certain contemplative equanimity.
  24. It’s amusing, and a refreshing change from the usual C.G.I.-heavy blockbusters.
  25. That space between reality and mirage is where Ms. de Van’s strength, and this movie’s true horror, lies.
  26. Hôtel Normandy is a confection spun differently from the typical Hollywood rom-com.
  27. There’s no way to prepare yourself for how awful The Secret Lives of Dorks is.
  28. Mr. Reich ties together his talking points with a reasonable-sounding analysis and an unassuming warmth sometimes absent from documentaries charting America’s economic woes.
  29. Even though the plot defies credibility at several points, Out in the Dark is gripping.
  30. It’s all a little silly, but Mr. Mickle’s restrained gravity stifles the impulse to laugh.

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