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. Trash Dance
    A warm thank you to those whose work is mostly invisible and entirely necessary.
  2. Mortem
    Most often Mortem just lacks bite, and the dedicated leads seem at times a little slight for the staging of a struggle at eternity’s edge.
  3. Married and Counting
    The services...lose a little drama after you’ve seen a couple of them. But they’re simple, worthy and sweet, much like the film that features them.
  4. The Numbers Station
    This dreary spy drama is as flat and airless as the concrete bunker in which it unfolds.
  5. Tai Chi Hero
    Tai Chi Hero merely fills the eye, offering little that stays with you.
  6. Graceland
    Even while embracing the breathless beats of the crime thriller, Graceland holds tight to its concern for exploited children.
  7. Arthur Newman
    The glum, episodic and unbelievable Arthur Newman is the film equivalent of a dysfunctional computer sloppily assembled from discarded parts of other machines.
  8. Midnight's Children
    The film needs an injection of Bollywood’s unembarrassed, anything-goes, bigger-than-life spirit, which embraces willy-nilly — as does Mr. Rushdie’s novel — the vulgar, the fanciful and the frankly unbelievable.
  9. The Big Wedding
    To say that Justin Zackham’s farce The Big Wedding takes the low road doesn’t begin to do justice to the sheer awfulness of this star-stuffed, potty-mouthed fiasco.
  10. Paradise: Love
    A tour de force of meticulous cruelty, a comic melodrama that elicits laughter and empathy and then replaces those responses with squirming discomfort.
  11. An Oversimplification of Her Beauty
    Mr. Nance turns his thought into a performance of vulnerability that’s all too relatable in its indulgences. It has heart without becoming cloying.
  12. Kon-Tiki
    There’s no denying the real Heyerdahl’s bravery, but if this movie is to be believed, his voyage was largely bereft of tension and interesting conversation.
  13. The Reluctant Fundamentalist
    By literalizing the idea of American military aggression and all that it implies Ms. Nair doesn’t just invest Mr. Hamid’s story with Hollywood-style beats, she also completely drains it of ambiguity.
  14. Mud
    Mr. Nichols’s screenplay is perhaps a little too heavily plotted, especially toward the end, when everything comes together neatly and noisily, but he more than compensates with graceful rhythm, an unfussy eye for natural beauty and a sure sense of character and place.
  15. Pain & Gain
    It all leaves you pondering whether you have just seen a monumentally stupid movie or a brilliant movie about the nature and consequences of stupidity.
  16. At Any Price
    If At Any Price overstates its points, they are still worth making. And the hot-wired performances by Mr. Quaid and Mr. Efron drive them home in a movie that sticks to your ribs and stays in your head.
  17. Oconomowoc
    Oconomowoc has one thing going for it: a running time of just 79 minutes, even if every one of them feels like an eternity.
  18. Love Sick Love
    Love Sick Love deteriorates into a series of pranks that are not funny enough to register as comedy or brutal enough to qualify as horror.
  19. The Lords of Salem
    Considerable care goes into establishing the premise, but the film eventually abandons psychological subtlety for hallucinatory garishness, which is too bad.
  20. Herman's House
    Although this documentary has a powerful political subtext, it is best described as a conceptual art piece about confinement, attached to a dual biography of the artist and the prisoner.
  21. Ain't in It for My Health: A Film About Levon Helm
    Less an archival clip job than a late-night jam session, it is informal and inviting.
  22. Oblivion
    Oblivion never transcends its inspirations to become anything other than a thin copy.
  23. In the House
    In the House weaves a pleasant and clever spell, manipulating the viewer much in the way that Claude plays with Germain.
  24. Deceptive Practices: The Mysteries and Mentors of Ricky Jay
    Unsurprisingly, Mr. Jay proves a hugely entertaining guide, and as generous about his professional inspirations as he is reticent about his own life.
  25. Un Flic (re-release)
    The forcefulness and mystery of Mr. Melville's direction often generate an urgency that keeps the film from feeling vague. [30 Nov. 1979]
  26. Scary Movie 5
    Marlon Wayans’s satire “A Haunted House” got to “Paranormal” first, and for a much smaller budget delivered bigger laughs.
  27. The Revolutionary
    It’s a remarkable story, even if The Revolutionary, a no-frills documentary drawn from five years of interviews, isn’t much of a movie.
  28. Paris-Manhattan
    Were it not for the charming Patrick Bruel as a no-nonsense security expert and Alice’s unlikely suitor, this spun-sugar concoction would be well nigh unwatchable.
  29. American Meat
    The film’s ending, introducing farmers whose lives (and weight) have been changed for the better, sounds enough like an infomercial to undermine the whole enterprise.
  30. This Ain't California
    Smartly incorporating Sasa Zivkovic’s sweet and simple animation, as well as an exhilarating, punk-infused soundtrack, Mr. Persiel extends the film’s appeal beyond hard-core skaters.
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