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. Stories We Tell
    Stories We Tell has a number of transparent virtues, including its humor and formal design, although its most admirable quality is the deep sense of personal ethics that frames Ms. Polley’s filmmaking choices.
  2. The Great Gatsby
    Less a conventional movie adaptation than a splashy, trashy opera, a wayward, lavishly theatrical celebration of the emotional and material extravagance that Fitzgerald surveyed with fascinated ambivalence.
  3. One Track Heart: The Story of Krishna Das
    One Track Heart is too hagiographic to dive into messy spots, where truth tends to live.
  4. Unmade in China
    Slack storytelling (including snippets from a post-film Q. and A. session) and patchy filmmaking seal the unappealing deal.
  5. Caroline and Jackie
    With low-key, almost guileless performances, the film demonstrates that no matter how intelligent, well thought out and potentially enlightened a current sociological method (e.g., the “loving intervention”) may be, people will always find a way to turn it into something ludicrous, aggressive or both.
  6. Turtle Hill, Brooklyn
    Turtle Hill is inconclusive from start to finish, and while that appears purposeful, it’s also pretty dull.
  7. Desperate Acts of Magic
    Despite the preachiness, however, they have still made a moderately enjoyable film, thanks to some engaging performances.
  8. The Happy House
    The film, a sleepy, low-budget affair, merely enacts a series of horror movie clichés, as if that were enough. Its bland actors and wit-free script do nothing with the familiar elements but present them.
  9. Scatter My Ashes at Bergdorf's
    [A] glossy, fawning valentine to conspicuous consumption.
  10. Dead Man's Burden
    The film’s small group of primary characters slips from joy to fury to murderous suspicion with faultless fluidity.
  11. Free the Mind
    Ms. Ambo communicates the notion of compassion and calm as something teachable, but perhaps feeling already convinced, she’s less ambitious as a filmmaker about taking her subject and her portraits to another level.
  12. Once Upon a Time in Brooklyn
    Pathetically inept.
  13. Generation Um...
    What does it add up to? Um ... I have no idea and don’t really care. Just because the characters waste their time doesn’t mean you should waste yours watching them circle the drain.
  14. Something in the Air
    Mr. Assayas’s method is observant and immersive. His camera moves among young bodies like an invisible friend, and his somewhat messy narrative is propelled by fidelity to feeling rather than by the machinery of plot.
  15. Love Is All You Need
    As Love Is All You Need ties up its loose ends, it settles into a rom-com formula with a predictable, upbeat ending. It feels good, sort of.
  16. Greetings from Tim Buckley
    It’s sweet, sentimental, almost inevitably touching if not especially persuasive, brushing against the thorns in each man’s life without drawing blood.
  17. 1st Night
    If 1st Night had a glint of social satire, it might have amounted to something more than a frivolous fatuity. But it plays as an arch, hammily acted farce.
  18. The Iceman
    If the narrow biographical focus of “The Iceman” prevents it from being a great crime movie, on its own more modest terms it is an indelible film that clinches Mr. Shannon’s status as a major screen actor.
  19. What Maisie Knew
    What Maisie Knew lays waste to the comforting dogma that children are naturally resilient, and that our casual, unthinking cruelty to them can be answered by guilty and belated displays of affection. It accomplishes this not by means of melodrama, but by a mixture of understatement and thriller-worthy suspense.
  20. Aroused
    The women share their dreams, their thoughts on relationships and some of the hazards of their work. The serious, thoughtful responses carry the film.
  21. Kiss of the Damned
    More focused on philosophy then feeding, “Kiss” marries a mash-up of undead clichés (I know, let’s have another lingering shot of the moon!) to hilariously stilted conversations.
  22. Wuss
    Mr. Liford (yet another emergent indie filmmaker from Texas) can clearly write a script, handle a camera and construct a mood. Wuss may be slight, but Mr. Liford’s sense of pitch is spot on.
  23. Memories Look at Me
    A slight yet profound exploration of generational choices and our fear of living our parents’ lives.
  24. Iron Man 3
    Stuff blows up and then more stuff blows up because that’s what happens when diversions like this hit movie screens around this time of year: chaos reigns and then some guy cleans it up.
  25. The Source Family
    Unearthing a decent sample of these former members, as well as a wealth of archival film and photographs, the directors elicit testimony that’s diversely sharp, spacey, nostalgic and heartbreaking.
  26. Post Tenebras Lux
    Life and death, nature and culture, sex and money, man and beast, God and the Devil — Post Tenebras Lux embraces the world even if it doesn’t open itself up to ready interpretation.
  27. Voyage to Italy (re-release)
    In its time, this film represented the arrival of something new, and even now it can feel like a bulletin from the future.
  28. Hamesima X
    The protagonist’s life changes for the better, but your mileage may vary.
  29. The Ghastly Love of Johnny X
    Unfortunately, “Ghastly Love” is a fallen soufflé, a spoof enormously pleased with itself but only occasionally entertaining.
  30. Sun Don't Shine
    This confident first feature from the actor Amy Seimetz is much more invested in atmosphere than in plot.
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