The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. Once Upon a Time in Anatolia
    A metaphysical road movie about life, death and the limits of knowledge, Once Upon a Time in Anatolia has arrived just in time to cure the adult filmgoer blues.
  2. Carol Channing: Larger Than Life
    A preternatural self-confidence and buoyancy infuse every syllable out of Ms. Channing's mouth in this entertaining film.
  3. The Hunter
    The clammy chill that pervades The Hunter, the fourth feature film by the Iranian director Rafi Pitts, seeps under your skin as you wait for its grim, taciturn protagonist to detonate.
  4. Monsieur Lazhar
    Like no other film about middle school life that I can recall Monsieur Lazhar conveys the intensity and the fragility of these classroom bonds and the mutual trust they require.
  5. Turn Me On, Dammit!
    With its soft, bleached images and occasional detours into black-and-white stills, Turn Me On, set in an unspecified recent past, has a gentle oddness as unforced as its performances and as inoffensive as its dialogue.
  6. Black Butterflies
    In its jagged style and tone Black Butterflies is as close to an inside-out view of Jonker's tumultuous life as a movie could go without sinking into chaos. Its hues are continuously changing, and the seaside weather around Cape Town reflects her tempestuous emotional life.
  7. Sing Your Song
    The revelations keep coming in Sing Your Song and it's hard not to go googly eyed when, for a 1963 CBS special, you see Mr. Belafonte discussing the march on Washington with some fellow marchers, Mr. Poitier, Marlon Brando, James Baldwin, Charlton Heston and the film director Joseph L. Mankiewicz.
  8. Scalene
    While occasionally unpleasant, the film never crosses the line from bearably chilling to unbearably gruesome, keeping its characters credible and its events explicable.
  9. The Snowtown Murders
    The Snowtown Murders reminds us that sometimes evil is immediately recognizable, but at other times it comes bearing bacon and beer.
  10. The Decoy Bride
    The script, by Sally Phillips and Neil Jaworski, mocks celebrity culture but never turns too caustic. The movie, like an island vacation, passes pleasantly and all too quickly.
  11. We Have a Pope
    Mr. Moretti finds broad comedy in the antics of some clerics, who can seem as sweet as children, but in Melville there is pathos and there is tragedy, and not his alone.
  12. Goodbye First Love
    Mr. Urzendowsky, with his dark curls, fine cheekbones and sad eyes, is a very credible first love, while Ms. Créton uncannily captures Camille's resolution as well as her almost willful vulnerability.
  13. The Hunter
    The Hunter never declares who is good or bad or right or wrong. And the implications of Martin's decision when the moment of truth finally arrives are left for the viewer to unravel.
  14. Bombay Beach
    Looks and feels like a fever dream about an alternate universe. Suffused with a sense of wonder, it hovers, dancing inside its own ethereal bubble.
  15. Crazy Horse
    Mr. Wiseman's particular genius has always been to convey, through judicious editing and dogged filming, the tedium, busyness and quiet intensity of group labor.
  16. Grandma, a Thousand Times
    Warmhearted and defiantly unsentimental, Grandma, a Thousand Times gains lightness from Teta's tart observations.
  17. The Swell Season
    What emerges is a poignant commentary on the uneasy commingling of love and fame.
  18. Windfall
    Urgent, informative and artfully assembled documentary.
  19. The Dish & the Spoon
    This wisp of a movie doesn't pretend to be more than a series of disconnected vignettes in a moody story that sometimes seems invented on the spot. The boy, for all his eccentricities, is a healing spirit who, without realizing it, gives Rose the fortitude to face her problems and resume her old life, for better or for worse.
  20. Private Romeo
    Much better to focus on the tempestuous Mercutio (Hale Appleman, a standout), whose increasing volatility forms the perfect counterpoint to Mr. Doyle's beaming Juliet and Seth Numrich's sensitive Romeo. Punctuated by eerily static shots of empty basketball courts and deserted hallways, Mercutio's blustering menace is as timeless as the romance he seeks to derail.
  21. Michael
    This coldly compelling film doesn't try to explain Michael's behavior or analyze his disease. As if doing penance for Michael's sins, it eventually metes out unequivocal punishment, but it is small consolation.
  22. Marley
    Marley is a detailed, finely edited character study whose theme - Marley's bid to reconcile his divided racial legacy - defined his music and his life.
  23. Polisse
    The messiness of the film seems appropriate to its subject, which is the attempt to bring at least a measure of order - and even a touch of grace - to a chaotic and frequently ugly reality.
  24. Middle of Nowhere
    Ms. DuVernay, from start to finish in this very fine movie, works to make sure that Ruby is a woman to remember.
  25. Starlet
    The bright sun that blasts through Starlet, a thrillingly, unexpectedly good American movie about love and a moral awakening, bathes everything in a radiant light, even the small houses with thirsty lawns and dusty cars.
  26. The Wise Kids
    In its unassuming way, this tiny, low-budget film is a universal reflection on issues of personal identity and choice for which there are no easy answers.
  27. Ruby Sparks
    Ruby Sparks doesn't try to pretend to be more than it is: a sleek, beautifully written and acted romantic comedy that glides down to earth in a gently satisfying soft landing.
  28. The Playroom
    The Playroom captures the malaise of mid-’70s suburbia with a merciless accuracy not seen since Ang Lee’s 1997 film, “The Ice Storm.”
  29. The Road
    The dead are unquiet and the living are terrified in The Road, a powerfully atmospheric blend of ghostly encounters, horrific situations and missing-persons mysteries from the Philippine director Yam Laranas.
  30. Frozen
    Frozen, for all its innovations, is not fundamentally revolutionary. Its animated characters are the same familiar, blank-faced, big-eyed storybook figures. But they are a little more psychologically complex than their Disney forerunners.
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