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. 36 Saints
    A modest effort only fitfully attaining its aims.
  2. What If
    A balloon of cuteness that makes you yearn for a pin, What If is Saturday night comfort food for those who need to believe that even the most curdled among us can find a mate.
  3. Prince of Darkness
    A surprisingly cheesy horror film to come from Mr. Carpenter (''Halloween,'' ''Escape From New York,'' among others), a director whose work is usually far more efficient and inventive.
  4. A Case of You
    While this unrelentingly midtempo movie milks Brooklyn for its chic, it manages to denude it of its color.
  5. Tyler Perry's A Madea Christmas
    With a character who can essentially say and do whatever she wants, you might expect a bit more.
  6. CZ12
    The film is about exotic locations (including a volcano), garish humor (often at the expense of Mr. Chan or women), fisticuffs, stunts and frenetic visual bombast.
  7. Toad Road
    Mr. Banker teases us with a dizzy, dislocating shooting style that throws up a succession of eerily arresting images. Even so, his film never overcomes the fact that watching drugged-out wastrels is rarely interesting — unless, of course, you’re one of them.
  8. Narco Cultura
    Narco Cultura feels like two short films sandwiched together to make a feature. One is a shallow pop-music documentary focusing on Mr. Quintero. The other is an equally superficial portrait of the embattled Ciudad Juárez, across the border from El Paso.
  9. Lost for Words
    The conventions are trundled out in Stanley J. Orzel’s cross-cultural romance, Lost for Words, but not the tension or the chemistry.
  10. Boss
    Boss is billed as an action comedy, but it isn’t always clear what is part of the joke and what isn’t.
  11. Blood and Ties
    After a promising start, it degenerates into unconvincing ticking-clock melodrama.
  12. Reaching for the Moon
    Ms. Otto conveys a double-edged intelligence as the film’s pinched notion of “Elizabeth Bishop in Brazil,” while Ms. Pires strides about, every snap judgment and grand gesture a measure of her appeal. Both are hemmed in by direction and a screenplay that are relentlessly on point (as well as an off-the-shelf score).
  13. The Christmas Candle
    The residents of the English village Gladbury in the period holiday film The Christmas Candle might as well be bustling about in a snow globe for all their dimples, yuletide obsession and quaint, consumptive coughs.
  14. Billy & Buddy
    Very young children fluent in French may enjoy the film for its jokes, but anyone old enough to read the subtitles is likely to be unamused.
  15. Cold Turkey
    Cold Turkey has some fine actors who put effort into their roles, but it’s getting harder and harder to care about or laugh at adult characters who have botched up their affluent lives and are still obsessed with events from childhood.
  16. Pad Yatra: A Green Odyssey
    The purpose was no doubt more spiritual than the film conveys; if so, the execution doesn’t do the effort justice.
  17. Swerve
    The fatalities and clichés escalate, as the wife plays the femme fatale, and the men run circles around one another amid the dust, blood and some tonally off, ill-conceived cutesiness.
  18. Tim's Vermeer
    Shooting in unattractive, hard-edge digital, Teller condenses Mr. Jenison’s years-long pursuit into 80 glib, alternately diverting, exasperating and tedious minutes.
  19. It's Better to Jump
    The film feels like a work of community advocacy.
  20. Kingsman: The Secret Service
    The problem is that Mr. Vaughn has no interest in, or perhaps understanding of, violence as a cinematic tool. He doesn’t use violence; he squanders it.
  21. Passengers
    Passengers increasingly succumbs to timidity and begins shrinking into a bland science-fiction adventure whose feats of daring and skill feel stale and secondhand.
  22. Lenny Cooke
    Like the 1994 documentary landmark “Hoop Dreams,” Lenny Cooke measures out the years with a pensive jazz motif, but the film feels comparatively stuck on a couple of notes.
  23. Dumb and Dumber To
    The Farrellys are still not much interested in film as a visual medium, and when Lloyd and Harry aren’t smacking each other or dropping their pants, you might as well be listening to a radio play. There’s a story, but it doesn’t matter, certainly not to the leads or the good-natured sidekicks like Kathleen Turner and Rob Riggle.
  24. Alice Through the Looking Glass
    The best and maybe the only way to appreciate Alice Through the Looking Glass is to surrender to its mad digital excess and be whirled around through time and space in a world of grotesque overabundance.
  25. Jane Got a Gun
    Whatever feminist angle the film might have once aspired to is lost in its listless shuffle.
  26. Tyler Perry's The Single Moms Club
    Mr. Perry’s latest film touches upon some recognizable and realistic challenges with efficient compassion, but there’s probably more dramatic tension in a car pool than in this film’s collection of predicaments.
  27. Cold Comes the Night
    The cash, the clichés — it’s hard not to be impatient with a movie as openly lazy as Cold Comes the Night, which is redeemed only by its performances.
  28. The Boy Next Door
    Mr. Cohen, no stranger to delivering pulp product, employs visual clichés as if they were flash cards; no exposed thigh or made-you-jump reveal goes unexploited.
  29. Live at the Foxes Den
    A slight movie that could have been significantly better with a little story doctoring.
  30. The Sacrament
    Mr. West sets the scene reasonably well, ratcheting up a sense of unease with old-fashioned shadows and some nighttime scrambling, but he gets lost once he shifts from fooling around in the dark to recreating mass death.
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