The New York Times' Scores

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For 20,335 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: 9,412 out of 20335
  2. Mixed: 8,455 out of 20335
  3. Negative: 2,468 out of 20335
20335 movie reviews
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  1. Zero Bridge
    Handicapped by Mr. Tapa's sometimes sketchy screenplay and the limitations of his nonprofessional cast. (His clumsy staging of their dialogue scenes doesn't help.)
  2. Port of Memory
    The movie too often fails to reward the close watching it requires. While its stillness powerfully suggests stasis, its fragmentary approach doesn't achieve a cumulative power.
  3. The Sky Turns
    The overall effect is one of lulling beauty and immersion in the landscape and culture - certainly enough to carry you through the film - but also an irritating sensation of being led by the nose through Ms. Álvarez's highly aestheticized ruminations.
  4. Carbon Nation
    This film seems blissfully unaware that political obstructionists are paralyzing the legislative process; that deep-pocketed influence peddlers have a vested interest in maintaining the fossil fuel culture; that, in general, people resist change.
  5. Orgasm Inc.
    Explores the link between female sexuality and corporate profits with a style that's as entertaining as it is revelatory.
  6. Certifiably Jonathan
    Teeming with smart American humorists - and a passel of Arquettes - all unconditionally admiring. What's astonishing, then, is that not one of them stepped in to dissuade their friend from participating in such an embarrassingly awful project.
  7. Carancho
    At heart an unlovely love story illuminated by sudden flares of violence, the film reeks of hopelessness and moral destitution, offering its lovers few means of escape.
  8. Lovers of Hate
    Smartly written and flawlessly acted, Lovers of Hate is a Trojan horse, the kind of movie that begins so self-effacingly that we don't expect any surprises.
  9. Vidal Sassoon: The Movie
    Its upbeat tone, perky visual rhythm and sleek graphics capture the "swinging '60s" aesthetic epitomized by Mr. Sassoon's major invention: the geometric "five-point" haircut.
  10. Just Go with It
    There is some cheap homophobia at the end, and a lot of the kind of misogyny that treats the existence of nonthin, nonrich, nonwhite women as a joke in itself.
  11. Gnomeo and Juliet
    There is some fun to be found in this goofy riff on Shakespeare.
  12. Poetry
    The importance of seeing, seeing the world deeply, is at the heart of this quietly devastating, humanistic work from the South Korean filmmaker Lee Chang-dong.
  13. Justin Bieber: Never Say Never
    Everyone involved in "Never Say Never" is working overtime to prove that he is, as one of them puts it, "just a regular kid who had a dream," while everything about the movie screams the opposite.
  14. Cedar Rapids
    Tim isn't super anything (though he proves heroic), and what makes Cedar Rapids a low-wattage pleasure is its insistence that his ordinariness - with his decency and sense of wonder - is pretty extraordinary.
  15. The Eagle
    Lumbering along for a bit less than two hours, which passes like three, it feels more like a chore than like an adventure.
  16. The Roommate
    Substituting sex for suspense and pop music for ideas, the director Christian E. Christiansen drags The Roommate from limp beginning to lame conclusion.
  17. Home
    We've heard it all before, if not in the schoolmarmish tones of Glenn Close, whose patronizing narration ("The earth is a miracle") makes the film feel almost as long as the life of its subject.
  18. Dressed
    Even those viewers who share the film's conviction that preparing a collection for New York Fashion Week is inherently fascinating may lose interest long before the final frock is fitted.
  19. Sanctum
    The director Alister Grierson, not grasping that bad dialogue is sometimes best delivered quietly, encourages his actors to shout and thrash about, and so they do, like fish out of water and performers out of their depth.
  20. Waiting for Forever
    I felt tentative stirrings of admiration for an indie movie that so aggressively flouts the hard-shelled conventions of romantic comedy. But more often than not, I felt suffocated by the gaseous sentimentality and lightheadedness of a story that drops in subplots that it can't begin to develop.
  21. Cold Weather
    With no grand speeches or oversized gestures, Mr. Katz creates a specific world that gracefully enlarges with universal meaning.
  22. The Other Woman
    In spite of its air of seriousness and sophistication, The Other Woman feels oddly shapeless and pokey.
  23. Troubadours
    The enjoyable, lightweight Troubadours is a musical scrapbook that throws together a bit of this and a bit of that.
  24. Into Eternity
    There is something apocalyptically awful about Onkalo, to be sure, but the impulse behind it is noble, and the installation itself has an undeniable grandeur.
  25. How I Ended This Summer
    Above all How I Ended This Summer is a merciless contemplation of the fragile human psyche under siege.
  26. Blackmail Boys
    What a shame the Shumanskis won't sign their real names to the film. You'd almost think they were as afraid as Andrew.
  27. Rage
    Offsetting its outlandish premise with believable performances, Rage (Rabia) delivers a heavy-handed metaphor for immigrant invisibility.
  28. From Prada to Nada
    Angel Gracia, whose career has been in European music videos and commercials, imbues his feature directing debut with a televisionlike crispness and disposability.
  29. Ip Man 2
    Choreographed by the film martial-arts veteran Sammo Hung, the fights are spectacularly designed and performed, relying more on muscle and skill than wirework.
  30. When We Leave
    It is frequently gripping and sincere in its intentions, but never quite as revelatory, or as devastating, as it should be.
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