The New York Times' Scores

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For 20,313 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: 9,401 out of 20313
  2. Mixed: 8,446 out of 20313
  3. Negative: 2,466 out of 20313
20313 movie reviews
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  1. The Smurfs 2
    A new, not very engaging movie featuring a lot of blue skin and household-name voices.
  2. The Perfect Family
    The dialogue in the film, directed by Anne Renton from a screenplay by Claire V. Riley and Paula Goldberg, has the loud, mechanical clicketyclack of a 40-year-old episode of "All in the Family."
  3. Bel Ami
    Although this is potentially juicy stuff, it is as dry and tasteless as a shrunken piece of fruit left in the refrigerator far too long.
  4. Lola Versus
    In spite of its scruffy look and slack pacing, it often rings as false as any of the big, shiny and soft studio rom-coms (starring Kate Hudson or Katherine Heigl, say) of the last decade.
  5. Teenage Mutant Ninja Turtles
    A certain kind of discipline and experience is at work here: It’s no accident that the action and dialogue seem blandly cartoonish, as if the moviemakers wanted to keep everything easy for all ages to follow.
  6. All In: The Poker Movie
    The film, though, is so padded with cheerleading that it doesn't have time for a serious exploration of poker's place in the broader culture or the consequences of its rapid rise and global reach.
  7. Losing Control
    There are rare flashes of successful humor, as when the film deals with the behavior of jerks and a flustered cabby, but these are not likely to be replicated in the lab. If you want to enjoy watching a confused scientist grappling with life choices, stick with "The Nutty Professor."
  8. An Encounter with Simone Weil
    Though Weil remains fascinating, Ms. Haslett's film, even when it uses more traditional documentary techniques, mostly isn't.
  9. Womb
    If the 20-odd seconds of blank screen squatting pointlessly amid the opening credits aren't enough warning that you're in for some seriously sluggish storytelling, then the adoption of a snail as one of the central motifs should drive the point home.
  10. The Mortal Instruments: City of Bones
    Too much of the film feels like shorthand, a trail of teasing crumbs to lead us to the inevitable sequels.
  11. Jean Gentil
    The filmmakers have no patience for details, either basic or telling. Their elliptical method starts to seem lazy, and Jean's plight, a journey from bad to bad, starts to seem a stacked deck. Through it all Mr. Genty holds your attention with his sober dignity. Too bad the filmmakers frequently let that slip into pathos.
  12. Going Down in LA-LA Land
    Based on a novel by Andy Zeffer and directed by Casper Andreas, Going Down falls well short of compelling, either as a coming-of-age film, a satire or a romance.
  13. Sin City: A Dame To Kill For
    The best antidote to all the glowering and posing is Eva Green: As Ava, the titular dame, she’s nothing short of a godsend.
  14. Warriors of the Rainbow: Seediq Bale
    Despite the movie's considerable visual splendor, the pacing of Warriors of the Rainbow is clumsy, its battle scenes chaotic and its computer effects (especially of a fire that ravages the Seediq hunting forest) cheesy.
  15. The Broken Tower
    Despite earnest attempts, Mr. Franco can’t bring the fervency of Crane’s poetry to life in the extensive recitations.
  16. Cheerful Weather for the Wedding
    If the movie had more courage, it would lay waste these people as hilariously as Robert Altman's film "A Wedding." But as its bad vibes accumulate, Cheerful Weather exhibits all the energy of a disgruntled wedding guest muttering complaints under his breath.
  17. Small, Beautifully Moving Parts
    The best thing about Small, Beautifully Moving Parts is its admission that a positive pregnancy test is not always cause for giddy celebration; the worst thing is that, even at a lean 73 minutes, this flimsy road movie feels at least 43 minutes too long.
  18. Crazy Eyes
    If it feels uncomfortably real, it's because its vision of decadence (if you'll pardon the word) is almost unwatchably creepy. Crazy Eyes awakens the same queasiness. Yes, it feels true. But why bother?
  19. Pitch Perfect
    Only occasionally funny and not at all illuminating about the rich world of a cappella singing.
  20. 6 Month Rule
    An ostensible romantic comedy that's really just a grating portrait of an irredeemable jerk.
  21. Hide Away
    Much of the skimpy, waterlogged dialogue in Peter Vanderwall's screenplay is heavy with portent. Excerpts from Homer's "Odyssey" and Longfellow's "Children's Hour" add to the tonnage.
  22. Music from the Big House
    The filmmakers hesitate at going deeper into the dark places of the prisoners' biographies and the storied prison itself. The one wouldn't exist without the other, and Ms. Chiarelli's rambling platitudes are no substitute.
  23. Sexual Chronicles of a French Family
    It's dull filmmaking.
  24. The Oregonian
    Creepy, silly, startling, irritating, and black-vomit-and-multicolored-urine disgusting, The Oregonian wears out its welcome within 30 minutes.
  25. War of the Buttons
    The slick filmmaking - the movie has a glossy, Hollywood-ready feel that sometimes tips into the cutesy - works against its themes.
  26. Extraterrestrial
    Alien invasion is just an excuse for romantic farce in Extraterrestrial, a tiresome roundelay of lies, lust and leaping paranoia.
  27. V/H/S
    A low-budget horror anthology with segments both ghastly and moronic.
  28. About Cherry
    The fatal flaw of this well-acted movie, whose creators are sex industry veterans, is its refusal to examine Angelina's occupation from outside the bubble. You might even call it a recruitment film.
  29. Atlas Shrugged II: The Strike
    The producers are going to have to hire a better director if they want moviegoers to be curious enough about this Galt guy to buy a ticket for the presumptive third and final chapter.
  30. Collaborator
    Collaborator has the tone and structure of an extended one-act play. Its uniformly wooden dialogue lends it the stage-bound feel of a tortured writing exercise.
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