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. Liberal Arts
    The harder Mr. Radnor strains to make you love his alter ego, the more resistant you become.
  2. Arbitrage
    Instead of digging into the psychology and morality of greed, Mr. Jarecki only glances and lectures in that direction before piling on a lot of melodramatic complications, including a death, an investigation and a cynical detective (Tim Roth). These days, it seems, the illegal manipulation of hundreds of millions of dollars simply isn't enough to incite moral outrage.
  3. The Master
    It is a movie about the lure and folly of greatness that comes as close as anything I've seen recently to being a great movie. There will be skeptics, but the cult is already forming. Count me in.
  4. Mark Lombardi: Death-Defying Acts of Art and Conspiracy
    The average viewer might understandably find that pieces in the puzzle of Mr. Lombardi remain missing.
  5. Versailles '73: American Runway Revolution
    This is an excellent story, and Ms. Draper tells it clearly and stylishly, teasing out the interesting angles and repercussions.
  6. I'm Carolyn Parker
    Jacobs, the great 20th-century philosopher-evangelist of urban life, would surely recognize this retired restaurant cook, a resident of the Lower Ninth Ward in New Orleans and the subject of Jonathan Demme's marvelous new documentary, as an indispensable "public character."
  7. Francine
    A small gem of bleak, neorealist portraiture.
  8. Mulberry Child
    The film's subject matter is epochal, its delivery less so.
  9. Serving Up Richard
    The story, too, undercuts the actors.
  10. Detropia
    In this visual caress of postindustrial blight, disintegration has never looked so gorgeous.
  11. Las Acacias
    The very definition of modest, Las Acacias articulates emotional transformation with simplicity and grace. Rarely has a film managed to say so much while saying so little.
  12. Branded
    This fantastical fable takes aim at marketing itself with an intriguing if tendentious narrative.
  13. The Cold Light of Day
    A catastrophe worth noting only for the presence of its name cast.
  14. [REC] 3: Genesis
    With slapstick smothering the scares, [REC 3] is further marred by a plot in which the muted Catholicism of its antecedents is turned up to full blast.
  15. Beauty Is Embarrassing
    The creativity grows like kudzu in Beauty Is Embarrassing, Neil Berkeley's enlightening and often hilarious portrait of the Los Angeles artist Wayne White. And it yields a thousand blossoms.
  16. Hello I Must Be Going
    This is ultimately a tale of affirmation, self-acceptance and second chances, and its lessons, while not unwelcome, are a bit too forced and neatly packaged to make it fully satisfying.
  17. The Inbetweeners Movie
    The movie is apparently the most popular British comedy in history. I guarantee that its success has nothing to do with the quality of the actual movie.
  18. The Eye of the Storm
    Whether she's lying in bed, her gray hair spilling out around her head, or exalting in existence itself during one of several flashbacks, Elizabeth draws you in, which works for the story and simultaneously unbalances it.
  19. Toys in the Attic
    The movie should be manna for anyone who likes animated fantasias without wisecracks, commercials and overwrought warbling about self-actualization, meaning that it's suitable for those who will grow up either to be the next Tim Burton or simply to enjoy his movies.
  20. Keep the Lights On
    Its subject is not addiction or ambition, or even love in a conventional romantic sense, but rather the more elusive and intriguing matter of intimacy: how it grows, falters and endures over time.
  21. Bachelorette
    Bachelorette is more tartly written, better acted and less forgiving than male-centric equivalents like the "Hangover" movies.
  22. The Words
    A clever, entertaining yarn that doesn't bear close scrutiny.
  23. Hollywood to Dollywood
    The optimism and good humor of John Lavin's crude, endearing documentary Hollywood to Dollywood are so unquenchable that its disturbing underlying theme - growing up gay in the South is no picnic - is partly obscured by its openheartedness.
  24. For Ellen
    Rather than finding an interesting, resonant ambiguity in his experience, Ms. Kim and Mr. Dano settle for a kind of suggestive vagueness, losing the thread of their character in the snow, steam and cigarette smoke that provide the film's main visual motif and perhaps also its dominant metaphor.
  25. Girl Model
    That stink, like iffy contracts and child labor laws, remains unexplored. Filled with blind eyes and unspoken agreements, Girl Model opens a can of worms, then disdains to follow their slimy trails.
  26. The Tall Man
    Ultimately his story draws more energy from class than from criminality: awash in sludgy browns and rotting greens - the colors of poverty and decomposition - this unpredictable oddity is a little bonkers but a lot original.
  27. The Possession
    Even if you resist the film's claims of being based on one family's actual experiences, The Possession is eerily enjoyable pulp. Perched somewhere between "The Exorcist" and "The Amityville Horror" - and with a dash of "The Unborn" - the story benefits from an unusually restrained sound design and special effects that enhance but never obliterate its troubled-family center.
  28. The Good Doctor
    Ultimately, even after momentarily falling apart in a fit of paranoia, Martin remains a cipher in a movie that never fulfills its potential as melodrama. If The Good Doctor isn't a bad movie, it tells only half the story.
  29. The Flying Swords of Dragon Gate
    Surprisingly old-fashioned. It seems to be having an argument with itself: the dazzling but often antiseptic immersiveness of the viewing experience is countered by storytelling suffused with nostalgia for a simpler, messier, livelier period in Chinese film.
  30. Breathing
    As a collaboration Breathing owes much to the balanced compositions, lucid imagery and judicious use of color executed by Mr. Gschlacht, who brought a similarly clear gaze to morally fraught work by other Austrian directors (Götz Spielmann's "Revanche," Jessica Hausner's "Lourdes," Michael Glawogger's "Slumming").
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