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. Don't Stop Believin': Everyman's Journey
    This one-note documentary from Ramona S. Diaz is as hostile to conflict as the group’s songs themselves.
  2. Girl Rising
    Though some of the writers inject a force of metaphor and strength of voice, no one would confuse the movie with a short-story collection. But it’s more ambitious and effective at blunting cynicism than most consciousness-raising efforts.
  3. The ABCs of Death
    At its best when merging shocks with social commentary, this halting compilation improves significantly as it nears the end of the alphabet.
  4. Language of a Broken Heart
    Although Language of a Broken Heart, a romantic comedy written by and starring Juddy Talt, eventually drowns in clichés and predictability, it has a few decent moments of humor and some appealing performances that make it marginally better than most vanity projects.
  5. Greedy Lying Bastards
    Collated for momentum, the film’s many interviews, wide-ranging archival footage and montage of modern ecological disasters form a blunt but carefully positioned instrument. And despite a bit of Michael Moore-style nonsense at the end the tightly edited narrative displays a reach (nine countries) and clarity of composition that hold the attention.
  6. The Silence
    [Mr. Odar] allows the story to unfold at a deliberate pace, emphasizing the psychological nuances of the mystery rather than its procedural details, and using graceful wide-screen compositions and haunting sound design to create a compelling mood of menace, anxiety and sorrow.
  7. Electrick Children
    Electrick Children is well acted and refreshingly nonjudgmental, but its narrative continuity is tenuous at best. As it jounces along toward a pat, unsatisfying ending, it leaves essential questions unanswered. But the movie’s underlying sweetness leaves a residual glow.
  8. The Monk
    Mr. Moll, whose films include “With a Friend Like Harry...,” somewhat heroically manages to keep the story’s manifold twists from becoming knotted, but he’s less adept at setting up the characters and their relationships and especially the depth and significance of their faith.
  9. Emperor
    Mr. Jones’s performance is the only spark within this otherwise dull, well-mannered exercise.
  10. Dead Man Down
    Dead Man Down, unfortunately, turns out to be too innocuous to qualify as either actually good or delectably bad.
  11. Beyond the Hills
    Even as Mr. Mungiu maintains a detached, objective point of view, allowing the details of the story to speak for themselves, he also allows you to glimpse the complex and volatile inner lives of his characters.
  12. Oz the Great and Powerful
    Can the major studios still make magic? From the looks of Oz the Great and Powerful, a dispiriting, infuriating jumble of big money, small ideas and ugly visuals, the answer seems to be no — unless, perhaps, the man behind the curtain is Martin Scorsese or James Cameron.
  13. The We and the I
    To call this thrillingly original, deeply felt movie a coming-of-age story would be to insult it with cliché. It’s much more the story, or rather a series of interlocking, incomplete stories, about what it feels like to be a certain age and to feel caught, as the title suggests, between the desire to be yourself and the longing to fit in.
  14. Gut Renovation
    An alternate title for Gut Renovation, Su Friedrich’s cranky, sarcastic documentary polemic about the gentrification of a Brooklyn neighborhood, might be “The Rape of Williamsburg.”
  15. Day of the Falcon
    A far, far cry from “Lawrence of Arabia,” but it has its diversions.
  16. I, Me aur Main
    The most interesting thing to watch in I, Me aur Main, the directorial debut of Kapil Sharma (his father, Rakesh Sharma, was the first Indian in space), is the changing moral landscape.
  17. The Last Exorcism Part II
    At least this movie, like its predecessor, has Ashley Bell as Nell. An actress who suggests religious piety, carnal fire and satanic aggression with equal dexterity, Ms. Bell provides a pulse an audience can connect with amid the standard-issue atmospheric accouterments.
  18. 21 and Over
    The movie’s humor — at the expense of Asians, Latinas and even Serbs — comes off just as tone deaf and random as Seth MacFarlane’s Oscar-night shenanigans.
  19. Genius on Hold
    This promisingly tragic tale is sunk by cartloads of context and an overbearing, slanted narration.
  20. The Sweeney
    Simon Dennis’s photography is glossy and crisp, and a lengthy foot chase — making excellent use of the National Gallery — is inventively choreographed. And if the villains are little more than fireplugs in balaclavas, the violence they provoke is satisfyingly vicious.
  21. The Unspeakable Act
    Mr. Sallitt lays down a customarily restrained mode of acting (the kind that somehow seems less flat and more natural in French cinema), but it’s in the service of a rare lucidity about feeling.
  22. The End of Love
    Mr. Webber, a skilled actor, has not devised a narrative with sufficient momentum or tension to sustain much interest.
  23. A Place at the Table
    Though the directors, Kristi Jacobson and Lori Silverbush, smartly choose examples from among the working poor — reframing obesity as chronic malnourishment in areas where it’s easier to find a burger than a banana — they’re reluctant to get down in the political dirt.
  24. Here I Learned to Love
    While the film ends abruptly, leaving you to wonder about the rest of the brothers’ lives, those tales can’t have matched the ordeals of their start.
  25. The Battle of Pussy Willow Creek
    By the time the humor overreaches, escalating into the surreal, you’ve fallen under the movie’s spell. Audacity and invention more than compensate for the deficiencies. Who knows what Ms. Cohen will do next? But it should be interesting.
  26. A Fierce Green Fire
    This distillation of Philip Shabecoff’s book doesn’t really capture the urgency and militancy promised in the title.
  27. Hava Nagila: The Movie
    The interviews are mostly good and instructive, but the well-chosen historical footage is better.
  28. Phantom
    The dialogue is dreadful (though we are at least spared the usual hokey Russian accents) and the wrap-up ridiculous, the only mystery being why this peculiarity was ever greenlighted at all.
  29. Stoker
    The final act of Stoker walks a fine line between the sensational and the silly. Mr. Park is less interested in narrative suspense than in carefully orchestrated shocks and camouflaged motives.
  30. Pavilion
    Unguided by obvious story signposts, you slip from image to image, pulled along by their beauty (the digital cinematography is by Chris Dapkins) and by the dreamy, leisurely rhythms of the editing (by Seth Bomse).
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