The New York Times' Scores

Select another publication »
For 20,336 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: 9,413 out of 20336
  2. Mixed: 8,455 out of 20336
  3. Negative: 2,468 out of 20336
20336 movie reviews
view
per page
  1. We Are What We Are
    It’s all a little silly, but Mr. Mickle’s restrained gravity stifles the impulse to laugh.
  2. Mystery Science Theater 3000: The Movie
    Couch-potato comedy can't get any lazier than Mystery Science Theater 3000: The Movie, but that counts for most of this film's slender charm. [19 Apr 1996, p.C8]
    • The New York Times
  3. GMO OMG
    To the informed consumer hoping for greater elucidation, Mr. Seifert’s partisan, oversimplified survey falls short.
  4. Morning
    Acute emotional honesty and a frustrating narrative coyness coincide in Morning.
  5. Concussion
    Ms. Passon ultimately seems to skirt some of the larger life questions hinted at along the way.
  6. Informant
    Mr. Meltzer doesn’t quite find an effective tone or structure to stay on top of his unsettling person of interest.
  7. Price of Gold
    A noncommittal, occasionally surreal portrait of hardscrabble lives and omnipresent risk.
  8. The Railway Man
    Mr. Firth gives a reserved, compelling performance.
  9. Ghost Team One
    It’s not the derivative scares and rudimentary effects that keep this low-budget effort percolating but the improvisational energy of Mr. Santos and Mr. Villarreal, whose ease, chemistry and humor never flag.
  10. The Double
    It never quite rises to the full potential of its theme or fully inhabits its intricately imagined space. It’s cool but not haunting — a brainteaser rather than a mindblower.
  11. American Promise
    Race is raised as a possible reason for Idris’s and Seun’s problems, and then other potential determinants (a learning disorder, illness) are introduced. But the filmmakers don’t engage with these life events and issues: They just line them up as if their significance were transparent.
  12. Moebius
    Mr. Kim does show an abiding concern here for the unsubtle realities of human libido and cruelty, but he’s alarmingly tone-deaf as he makes his points, and shows disregard for his female characters as he uses them up.
  13. Stray Dogs
    Until it goes haywire with the cabbage scene, Stray Dogs sustains a hypnotic intensity anchored in exquisite cinematography that portrays the modern industrial cityscape as a chilly wasteland.
  14. How I Live Now
    As sun-dappled infatuation abruptly crashes into post-apocalyptic survival, Mr. Macdonald struggles to balance a nebulous narrative on tentpole moments of rich emotional resonance.
  15. Arise
    Arise always feels unified, a genuinely felt and executed womanist letter to the world.
  16. Supermensch: The Legend of Shep Gordon
    Mr. Gordon is likable, though it would be naïve to think he is unaware of cultivating his own image here.
  17. The Time Is... Now
    The Time Is ... Now is a well-meaning if congenitally flawed bit of uplift about how to endure catastrophe and violence in a world that has no shortage of either.
  18. Wedding Palace
    While the story is a bit weak, the film does a good job of contrasting Korean-Americans who steadfastly adhere to the traditions of their homeland with South Koreans who have renounced old customs.
  19. The Dead Man and Being Happy
    Stories of humanized hit men make for a small but well-trod patch of screenwriting terrain, but The Dead Man and Being Happy quickly transcends that territory to become a beguiling road movie.
  20. Enzo Avitabile Music Life
    The fuzziness of Mr. Avitabile’s sentiments on boundary-blind unity is echoed in the movie’s slack, tag-along portraiture.
  21. 2 Jacks
    Written and directed by Bernard Rose (“Immortal Beloved”), 2 Jacks has a pleasing circular structure, and it doesn’t push the parallels between old and new Hollywood to absurd limits.
  22. Girl on a Bicycle
    It’s all light as a feather, with Jeremy Leven, the writer and director, landing some good multinational jokes along the way.
  23. In the Name Of
    Encouraging sensitive performances that mitigate the film’s sluggish pace and fuzzy narrative, Ms. Szumowska juxtaposes two-person scenes of wordless intimacy with group expressions of casual violence.
  24. Forgetting the Girl
    Its characterizations may be overwrought — it is a thriller, after all — and the audience might prefer to have sympathy for a character without being practically told to feel it. But the acting is strong.
  25. The Little Bedroom
    The Little Bedroom is a gentle, melancholy drama so pale and tentative that its very colors appear washed away by grief.
  26. Bettie Page Reveals All
    No life is seamless, and not every biographical portrait needs to be, but this one is so riddled with awkward transitions, including on the soundtrack, that it tends to lurch distractingly, as if Mr. Mori were still trying to figure out how to piece the whole thing together.
  27. Gone Girl
    At its strongest, Gone Girl plays like a queasily, at times gleefully, funny horror movie about a modern marriage, one that has disintegrated partly because of spiraling downward mobility and lost privilege. Yet, as sometimes happens in Mr. Fincher’s work, dread descends like winter shadows, darkening the movie’s tone and visuals until it’s snuffed out all the light, air and nuance.
  28. House in the Alley
    [A] slight exercise, which, for all its modesty, generates a measure of dread.
  29. Out Loud
    That the movie exists at all attests to the courage of the participants to see it through to the end. Out Loud bleeds with sincerity.
  30. Bridging the Gap
    Blithely hokey, amusingly eager to distract and rather entertaining, the film resembles a children’s travel show with music-video elements more than it resembles a straight-up documentary.
Page:

Top Trailers

See all »
See all trailers »