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. Much Ado About Nothing
    From its very first scenes, Mr. Whedon’s film crackles with a busy, slightly wayward energy that recalls the classic romantic sparring of the studio era.
  2. Triumph of the Wall
    Neither the very relaxed pace of this builder, Chris Overing, nor Mr. Stone’s sporadically amusing neuroses about his filmmaking make for a gripping documentary.
  3. I Do
    In a better movie you might play along with contrived plot twists and fake obstacles, but watching I Do, a movie with thin characters and a languorous pace, you find yourself talking back to the screen.
  4. Run It
    An entwined triptych of sorts unified by invective, slurs and characters demanding that others shut up, Run It is a very patchy affair.
  5. Sirius
    Mr. Kaleka’s film feels a bit like wandering into a hotel convention hall full of true believers who have been chatting for hours.
  6. The Wall
    The photography is often lovely, and Ms. Gedeck convincingly portrays a woman who as the ordeal stretches on month after month seems to be gradually losing her individuality and blending into the landscape.
  7. Student
    It’s the no-nonsense filmmaking, seamlessly integrating even dreams and visions, that keeps us fixed on the bold line of the student’s trajectory, all the way through to a transcendent ending.
  8. The History of Future Folk
    It may not make much sense in a brief plot summary, but it makes perfect, daffy sense on the screen.
  9. American Mary
    This film — the second from the Soskas, and shot in their hometown, Vancouver, British Columbia — combines gore, quiet dread, feminist conviction and a visual classicism, often using a red palette, with impressive, unbelabored dexterity.
  10. After Earth
    For the most part it is an uninteresting slog alleviated only by the occasional unintended laugh and moments of visual beauty. Mr. Shyamalan generally torpedoes his movies with overweening self-seriousness.
  11. The Kings of Summer
    The best way to enjoy The Kings of Summer is to view it as a likable comic fantasy dreamed up by filmmakers (Chris Galletta wrote the screenplay) who are close enough to adolescence to infuse their ramshackle story with a youthful, carefree whimsy.
  12. La Camioneta: The Journey of One American School Bus
    Mark Kendall’s quietly moving documentary, La Camioneta: The Journey of One American School Bus, is as modest and farsighted as its cast of Guatemalans who make a living resurrecting discarded American school buses.
  13. Now You See Me
    Long before the story culminates with a preposterous final revelation, whatever hopes you had that Now You See Me might have had anything to say about the profession of magic, rampant greed or anything else have been dashed.
  14. Shadow Dancer
    The movie takes no political positions. With an icy detachment, it peers through the fog of war and examines the slippery military intelligence on both sides to portray a world steeped in secrecy, deception and paranoia.
  15. The East
    It may be asking too much of The East — which is, after all, a twisty, breathless genre film — to wish that it would frame the contradictions of contemporary capitalism more rigorously. The movie is aware that they exist, and wishes that they could be resolved more or less happily, which is hard to argue with, though also hard to believe.
  16. Hannah Arendt
    Hannah Arendt conveys the glamour, charisma and difficulty of a certain kind of German thought.... The movie turns ideas into the best kind of entertainment.
  17. Nancy, Please
    It’s a brutally unsympathetic portrait of situational anxiety that withholds comfort from Paul and viewer alike, and Mr. Semans refuses to relent.
  18. A Wedding Invitation
    A Pan-Asian romantic melodrama that virtually pokes you in the eye with its fakery.
  19. A Green Story
    This stately film lays out the good, the bad, the sad and the proud in stark patterns, to mostly soporific effect.
  20. Fast & Furious 6
    A satisfying thrill ride, at least on a par with the earlier installments.
  21. Epic
    As beautiful as it is, Epic is fatally lacking in visceral momentum and dramatic edge.
  22. The English Teacher
    The acting, especially Ms. Moore’s, is solid. But her strong, sympathetic performance fails to transform The English Teacher into anything more than a sitcom devoid of laughs, except for a soupçon of literary humor. It is a movie at odds with itself.
  23. We Steal Secrets: The Story of WikiLeaks
    For all its faults, “We Steal Secrets” reminds us that despite the potential of WikiLeaks, its project of truth and consequences remains treacherous and complicated in practice.
  24. Fill the Void
    What the film makes clear, with unfailing sensitivity and wry humor, is that for Shira and her family the ordinary arrangements of living are freighted with moral and spiritual significance.
  25. Before Midnight
    Before Midnight is a wonderful paradox: a movie passionately committed to the ideal of imperfection that is itself very close to perfect.
  26. The Hangover Part III
    The Hangover Part III, directed by Todd Phillips from a screenplay he wrote with Craig Mazin, is a dull, lazy walkthrough that along with "The Big Wedding" has a claim to be the year's worst star-driven movie.
  27. Plimpton! Starring George Plimpton as Himself
    A skilled portrait of a literary light shadowed by his public profile. The film, written and directed by Tom Bean and Luke Poling, tacitly suggests a reconsideration of its subject, who deserves it.
  28. 3 Geezers!
    This is one terrible movie.
  29. Doin' It in the Park: Pick-Up Basketball, NYC
    Paced by Eddie Palmieri’s up-tempo, percussive score, “Doin’ It” bounces like a crossover dribble, gliding swiftly and surely through interviews, videos and history lessons, then transitioning to today’s dedicated ballers and playground culture.
  30. Aurangzeb
    The plot of Aurangzeb is inevitably too complicated, and the themes presented more interestingly than they are wrapped up. But for much of the nearly two-and-a-half-hour running time, it ably weaves Bollywood tropes...with contemporary outrage at the rules of the game.
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