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. Spinning Plates
    This dully structured film makes its points early and often, treading water before a purposely delayed big finish.
  2. The Last Sentence
    Although its black-and-white visuals catch the eye, The Last Sentence soon loosens its hold on your attention by flooding the story with mind-numbing, uninteresting details while real history slips through the cracks.
  3. Cassadaga
    This eager film piles on common fears: evil puppetry, haunted homes and overly generous hosts. So despite a sloppy and humorless execution, it is scary by association.
  4. The Prime Ministers: The Pioneers
    A bit overstuffed with history and tales of perseverance, the film doesn’t have room for balanced political analysis or even exposition at times. It’s an omission that feels like a missed opportunity, but maybe that will be resolved in the next installment.
  5. Victor Frankenstein
    Thin as a halfpenny, Victor Frankenstein has nothing to offer on science and the mysteries of creation, but it does reaffirm the grip that Shelley’s story retains on the imagination, no matter how far afield it’s taken.
  6. 12-12-12
    12-12-12 is not really a concert movie so much as it is a densely compacted scrapbook of moments onstage and off.
  7. One Chance
    The appealing Mr. Corden manages the not insignificant task of maintaining interest in a story whose climax has already been passed around on YouTube.
  8. Cut to Black
    A mildly engaging lowlife odyssey that struggles not to choke on its own style.
  9. Paranormal Activity: The Marked Ones
    The changes — goodbye, white suburbia; hello, gritty diversity — recharge the batteries somewhat. But there’s no escaping that the found-footage phenomenon has gone from fresh and original to just plain annoying.
  10. Aftermath
    Delivers its Holocaust-related story with the clunking force of a blunt instrument slammed into the skull.
  11. Beyond Outrage
    The strategy and strategizing of Beyond Outrage still feel like overkill (if you’ll pardon the expression).
  12. The Quiet Ones
    There are nice touches... Yet many of the movie’s more nominally horrific elements are too familiar.
  13. Finding Mr. Right
    Finding Mr. Right (even the title is generic) has a top-to-bottom capable cast, a nice sense of place and a few honest epiphanies that are given time to land. But neither the comedy nor the romance exists beyond the level of idea.
  14. Go for Sisters
    As long as Go for Sisters is focused on its characters, it remains on firm ground. But the flimsy detective story draped over them is underdeveloped and too sluggishly paced to take hold.
  15. Paris Countdown
    Mr. Marie, making his debut as a director, swathes their tale in a thick coat of style that teeters between cool and mannered.
  16. Some Velvet Morning
    While there’s much to admire in how Mr. Tucci and Ms. Eve perform Mr. LaBute’s artful, apocalyptic duet, this is one seriously out-of-date tune.
  17. Live by Night
    Live by Night is a messy, unfocused movie about ambition, lost ideals, corrupt men and a thief whose idea of life on his own terms means pulling the trigger.
  18. Body Bags
    The plots are fairly basic, but the direction by John Carpenter and Tobe Hooper is droll, the effects are all a fan could ask for, and the playing is appropriately agitated. [06 Aug 1993, p.D15]
    • The New York Times
  19. This Is Where We Live
    Though the developing bond between the two men — one of whom is virtually nonverbal — is credible and even touching, the storytelling is too oblique to reel you in.
  20. Cuban Fury
    Not that some of this isn’t amusing, but you feel the considerable improvisational skills of the cast going to waste.
  21. Paul Verhoeven's Tricked
    As ever, the paradox of Mr. Verhoeven’s style is that it seems to wallow in tastelessness and transgression even as he remains one of the most classical movie craftsmen.
  22. Dhoom 3
    “Dhoom 3” is very much the Aamir Khan show.
  23. Die Narbe (The Scar)
    Comes across as more of an extravagant gesture than a fully realized artistic conceit.
  24. Draft Day
    I don’t really buy Draft Day — it’s a shallow and evasive movie, built more around corporate wish fulfillment than around reality — but I have to say that it sells itself beautifully.
  25. Veronica Mars
    A likable, unmemorable, feature-length footnote to the admired television series.
  26. Self/less
    [An] entirely preposterous, not entirely unenjoyable movie.
  27. Friend 2: The Legacy
    In addition to the copious flashbacks, there is an overly generous heaping of styles on display.
  28. Step Up: All In
    Step Up All In, directed by the dancer and choreographer Trish Sie, signals a slight retreat from the bonkers, protest-themed “Step Up Revolution."
  29. Child 44
    The most floridly enjoyable voices belong to Tom Hardy and Noomi Rapace, last seen together speaking Brooklynese in “The Drop.” In that film, Mr. Hardy dropped his r’s like a champ. Here he lands heavily on the aitches and contracts the words “it is” into the letter Z. “Zimpossible,” he says. “Zdifficult.” As for Child 44: Znot too terrible, but znothing great, either.
  30. Exodus: Gods and Kings
    Exodus is ludicrous only by accident, which isn’t much fun and is the surest sign of what we might call a New Testament sensibility at work. But the movie isn’t successfully serious, either... To be fair, there is some good stuff here, too. Mr. Scott is a sinewy storyteller and a connoisseur of big effects.
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