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. The Taste of Money
    Even as The Taste of Money swerves toward a frantic climax and a sentimental denouement, it remains intriguing. It feeds an insatiable curiosity about how the other half - or, in current parlance, the 1 percent - lives, and what it shows us is gorgeous, grotesque and disconcertingly human.
  2. Yossi
    What began as a reasonably hardheaded look at profound and rapid cultural change turns into a feel-good fantasy of salvation.
  3. The Pirogue
    The most powerful thing about The Pirogue is the way it deals with emotionally charged events matter-of-factly, rather than melodramatically. The story Mr. Touré has chosen to tell is both painfully specific - about these individuals, in this boat - and immeasurably vast, since the experience it depicts is shared by millions of people around the world. And yet somehow he gets the scale just right.
  4. Stolen Seas
    A documentary that yearns to be an adventure movie, Stolen Seas can't resist drowning its invaluable insights in thundering, drum-heavy music and flashing visuals. Magnificent in its thoroughness and nuance, this dense, multifaceted study of Somali piracy really needs to settle down.
  5. Our School
    Discrimination against nomadic populations is hardly restricted to Romania, but the integration of that country's largest ethnic minority seems particularly pressing. If only that view were shared by the Romanian adults on screen, most of whom display a shocking degree of prejudice.
  6. Greenwich Village: Music That Defined a Generation
    Evokes the flavor of the era just before the music business exploded into a mass-market juggernaut. The film's pleasures are the same ones offered by a sprawling, lavishly illustrated magazine spread.
  7. The Last Stand
    The South Korean director Kim Jee-woon fails to dazzle with the endless speeding-car sequences, but that 60-second flourish during a lengthy firefight is almost worth the tedium.
  8. Mama
    Instead of delivering buckets of guts and gore, this ghost story offers a strong sense of time and place, along with the kind of niceties that don't often figure into horror flicks, notably pictorial beauty, an atmosphere throbbing with dread and actors so good that you don't want anyone to take an ax to them.
  9. Hors Satan (Outside Satan)
    Despite its pictorial intensity and the extremity of some of its scenes, the film proceeds in a mood of detachment, turning the suffering physical beings under its scrutiny into abstractions.
  10. LUV
    It does not entirely succeed, but at its best Luv shows the kind of heart and intelligence that is always welcome - and often missing - in American movies.
  11. Birth Story: Ina May Gaskin and The Farm Midwives
    A granola ode to natural childbirth that makes you want to hop into a tub of warm water and start pushing.
  12. Brief Reunion
    The film's biggest weakness is its unsympathetic main character, a snippy, nervous, expressionless control freak who gets more despicable as the story unfolds.
  13. Southwest (Sudoeste)
    Like a Bela Tarr film it leads you to consider the breadth of eternity, the limits of human consciousness and the possibility of reincarnation.
  14. Broken City
    Hughes visual choices can feel borrowed and clichéd, but his regard for beauty often compensates for his blunders, as does the sturdy, reliable appeal of another story of good and evil, men and women, light and dark, glass and steel, sex and power. As it turns out, there are eight million and one stories in the naked city.
  15. Matru ki Bijlee ka Mandola
    A mix of gently outraged populism and low-powered romantic comedy, Vishal Bhardwaj's Matru ki Bijlee ka Mandola might have been better with a chunk lopped off its two-and-a-half-hour runtime.
  16. A Haunted House
    If the opening gag in your R-rated movie is an extended flatulence joke you should reconsider whether you're qualified to make such a movie. Not that flatulence jokes aren't funny; 8-year-olds love them. The thing is, not many 8-year-olds go to R-rated movies.
  17. FrackNation
    More than anything, FrackNation underscores the sheer complexity of a process that offers a financial lifeline to struggling farmers.
  18. Welcome to the Machine
    A strain of quixotic eccentricity runs through the film's endeavor; Mr. Weider basically has more material than he can marshal. As the film goes on, its elements are overshadowed by a reliance on Mr. Kaczynski's writings, which are selectively quoted and blared on screen as if part of a PowerPoint presentation.
  19. My Best Enemy
    An awkward blend of anti-Semitic atrocities and identity-swapping absurdity, the World War II drama My Best Enemy struggles to find a convincing tone.
  20. Uprising (2013)
    A concise commemoration of a new society's birth pains.
  21. Let My People Go!
    Reuben is a whiny and uncoordinated prodigal son. His constant chafing at himself and the world is the film's biggest problem; by the midway point we're all wishing him back in Finland where he belongs.
  22. Clandestine Childhood
    When a filmmaker proves as reluctant as Mr. Ávila to speak up about the past, to engage with its full complexity, it can be hard to hear what he's saying.
  23. Struck by Lightning
    Except for Ms. Janney's monstrous mother and an Alzheimer's-afflicted grandmother (Polly Bergen), Struck by Lightning gives its characters no dimension.
  24. Fairhaven
    There isn't a dishonest moment in Fairhaven, Tom O'Brien's piercing, wistful portrait of three longtime buddies in their mid-30s who reunite around a funeral in a southeastern Massachusetts fishing community.
  25. The Baytown Outlaws
    The Baytown Outlaws" avidly subscribes to the grindhouse aesthetic of Quentin Tarantino and Robert Rodriguez. If it has the right spit-in-your-face attitude, it has neither the stamina nor the wit to go the distance, although it makes it about two-thirds of the way.
  26. Quartet
    A sincere but sloppy piece of work. Mr. Hoffman dotes on his cast of first-rate British actors of a certain age - and invites us to savor their energy and professionalism. This is not difficult, though the efforts of these fine actors might have yielded greater delight if they had been given more to do.
  27. Gangster Squad
    His (Fleischer) first feature, "Zombieland," was a half-witty genre parody. This one might be described as genre zombie-ism: the hysterical, brainless animation of dead clichés reduced to purposeless, compulsive killing. Too self-serious to succeed as pastiche, it has no reason for being beyond the parasitic urge to feed on the memories of other, better movies.
  28. High Tech, Low Life
    The result is a narrow, albeit intriguing window into a technological revolt that deserves a more far-reaching film than this one.
  29. Texas Chainsaw 3D
    Ms. Daddario is adequate, while Mr. Eastwood, as a lawman, strikes sinister notes. It's nice to see briefly Marilyn Burns, the record-holder in long-distance screaming in Tobe Hooper's original 1974 "Texas Chain Saw Massacre," and Gunnar Hansen, who played Leatherface in the same.
  30. 56 Up
    Life rushes by so fast, it flickers today and is gone tomorrow. In 56 Up - the latest installment in Michael Apted's remarkable documentary project that has followed a group of Britons since 1964, starting when they were 7 - entire lifetimes race by with a few edits.
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