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. Grown Ups
    It doesn't get worse than Grown Ups, Adam Sandler's sloppy entry into this year's man-child-comedy sweepstakes. Lazy, mean-spirited, incoherent, infantile and, above all, witless.
  2. Dogtooth
    Dogtooth supplies no such explanation and at times seems as much an exercise in perversity as an examination of it.
  3. Restrepo
    As the war in Afghanistan returns to the front pages and the national debate, we owe the men in Restrepo, at the very least, 90 minutes or so of our attention. If nothing else, this film, in showing how much they care about one another, demands the same of us.
  4. Wild Grass
    Like its would-be lovers, Wild Grass chases itself in circles as it scrambles genres, examining seeing, thinking, remembering and imagining with a zany awareness. In Georges's words: "After the cinema nothing surprises you. Everything is possible."
  5. South of the Border
    As anyone who remembers "JFK," his 1991 film about the Kennedy assassination, can attest, Mr. Stone has his own paranoid tendencies, but they are muted in this provocative, if shallow, exaltation of Latin American socialism.
  6. Children of Tokyo
    That it is more -- a small masterpiece, perfect in design and execution -- almost goes without saying, but the film’s profundity and its charm go hand in hand.
  7. Knight and Day
    A loud, seemingly interminable, and altogether incoherent entry in the preposterous and proliferating “action-comedy” genre.
  8. Jonah Hex
    Though it has bad word of mouth, Jonah Hex is generally better, sprier and more diverting than most of the action flicks now playing, "The A-Team" included.
  9. Cyrus
    Cyrus is more finely tuned than their earlier movies ("The Puffy Chair," "Baghead"), but it shares a similar, almost aggressive lack of ambition. John doesn't work hard and neither do the Duplasses, who don't want their audiences to break a sweat either. That's too bad, because Cyrus is more interesting and fun when you're recoiling at the effrontery of its comedy and not its conventionality.
  10. 8: The Mormon Proposition
    The highly emotional documentary is narrated by Dustin Lance Black, the screenwriter for “Milk,” who, like Mr. Cowan, is gay and grew up in a Mormon household.
  11. I Am Love
    Often soaringly beautiful melodrama.
  12. Let It Rain
    Needlessly complicated, life already has more than enough petty dramas. Let It Rain may not be funny in a ha-ha sense, but it gave me an amused open-mouthed appreciation of life’s absurdities, including unanticipated nuisances like bad weather.
  13. Toy Story 3
    As sweet, as touching, as humane a movie as you are likely to see this summer.
  14. Wah Do Dem
    Horizons are expanded and exoticism explored in Wah Do Dem, a shaggy road movie about relinquishing your comforts to find your bliss.
  15. 45365
    Remarkable patchwork of unremarkable lives.
  16. Stonewall Uprising
    Methodically ticks off the forms of oppression visited on gays and lesbians in the days before the gay rights movement.
  17. The Nature of Existence
    His film is no more profound than its forerunners, but it’s quicker, funnier and less pretentious.
  18. The Girlfriends
    What makes Le Amiche so bracing -- so sad and, sometimes, so funny -- is that its heroines are fallible, flawed, vain and powerful, each in her own way. They often make one another miserable, but their company is always a pleasure.
  19. The Karate Kid
    Is this Karate Kid as good as the original? No, although it is better than the sequels. But why bother with nostalgia? It’s probably good enough.
  20. The A-Team
    The obstacle that the director Joe Carnahan and his colleagues failed to clear was finding the right self-mocking tone for a movie that was, by the looks of it, too expensive to risk real laughs.
  21. Joan Rivers: A Piece of Work
    This convulsively funny movie takes an up-close and sometimes queasy-personal approach to its motormouth subject, who, when she's not making you howl with laughter (or freeze up in horror), brandishes her deeply held hurts, fears, prejudices, poor judgment and bad taste as if they were stigmata.
  22. Coco Chanel & Igor Stravinsky
    Never regains that initial blast of energy and the final scenes wobble toward a wishy-washy ending.
  23. Winter's Bone
    The film's realism is a point of entry rather than the whole point of the exercise. Its setting is finally subordinate to the main character, as memorable and vivid a heroine as you are likely to see on screen this season.
  24. Reel Injun
    Absorbing and amusing for as long as it looks back at those Hollywood westerns, recounting their sins against American Indians.
  25. The Lottery
    Ignoring critical issues like financial transparency, Ms. Sackler sells her viewpoint with four admirable, striving families, each of whose tots could charm the fleas off a junkyard dog.
  26. Ondine
    Mr. Farrell and Mr. Doyle continue to hold your gaze, even as Mr. Jordan's screenplay sets your mind to wandering. There is, as noted, a wisp of a tale tucked into this film, one that, as the story wears on, becomes ponderously weighed down with melodramatic filler and even some halfhearted genre action.
  27. Splice
    Mr. Natali, whose earlier films include “Cube,” hasn’t reinvented the horror genre. But with Splice he has done the next best thing with an intelligent movie that, in between its small boos and an occasional hair-raising jolt, explores chewy issues like bioethics, abortion, corporate-sponsored science, commitment problems between lovers and even Freudian-worthy family dynamics.
  28. Get Him to the Greek
    Get Him to the Greek displays the bawdy-sweet mixture that is the signature of the Judd Apatow school of screen comedy.
  29. Killers
    Unless you’re trapped on an airplane or enjoying movie night at the penitentiary, you have no excuse for watching Killers. A brain-deadening collision of high concept and low standards.
  30. Marmaduke
    These cinematic feats are accomplished with meat-cleaver editing and awkward, jittery computer-generated imagery. The well-cast voices for the expressionless animals are at least good for a few smirks.
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