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. Mechanic: Resurrection
    If not for Mr. Jones, “Resurrection,” while competently edited, would be devoid of humor, an area where Mr. Statham has shown promise in the past.
  2. The DUFF
    Even in this would-be subversive comedy. Success means getting the guy. Getting good grades (as Bianca does) is not enough, nor is writing the front-page article in the school paper.
  3. Son of a Gun
    Son of a Gun adds to the mystique that Australian crime films are meaner, nastier and more brutish than their American counterparts. But it changes style roughly every half-hour. And behind its macho preening is a preposterous, routinely executed story.
  4. The Color of Time
    The film is too sincere an expression of admiration for this poet’s work to feel pretentious, but it’s like a music video for the poems, often literal in its biographical readings.
  5. Danny Collins
    What authenticity Mr. Cannavale and Ms. Bening bring to their roles is the sense of groundedness and integrity for one-note characters in a movie whose screenplay is little more than an efficiently executed outline.
  6. The World Made Straight
    The finale, in which blood rivalries are redressed in an absurdly literal manner, fatally strains credulity.
  7. Magician: The Astonishing Life and Work of Orson Welles
    Like one of those machines that can inhale a car and spit out a tidy cube of squashed components, Magician: The Astonishing Life and Work of Orson Welles is a near-indigestible lump of clips and quips and snipped opinions.
  8. Touch the Wall
    What Touch the Wall lacks is an inventive or compelling presentation. Heavy with platitudes about goals and attitude, it could easily be a short special on ESPN.
  9. Women Who Flirt
    The film is exaggerated, ludicrous and simplistic. It shows a towering disdain for both men and women. But Angie and Marco have a certain good-natured charm, and there are some nice shots of Shanghai.
  10. Unfinished Business
    A “EuroTrip” with balance sheets, the slick, innocuous comedy Unfinished Business fails to seal the deal.
  11. Ungli
    While Mr. D’Silva’s basic structure and pacing are fairly fluid, his movie suffers from Bollywood’s typical kitchen-sink approach to filmmaking.
  12. Monkey Kingdom
    It’s hard to imagine what message children will take away from this film other than that monkeys are just like characters in a fictional Disney movie, which they are not.
  13. Inside the Mind of Leonardo
    The movie starts by noting Leonardo’s intent to leave a memory of himself in the minds of others. That’s a benchmark Inside the Mind of Leonardo won’t meet.
  14. Strange Magic
    At once disarming and calculated, Strange Magic is a film of commodified feelings, evoking memories of other experiences — whether of Shakespeare, the original songs or authentic enchantment.
  15. Woman in Gold
    Apart from Ms. Mirren’s performance, Woman in Gold smugly and shamelessly pushes familiar buttons.
  16. Tip Top
    The humor of this situation — or of any of the movie’s strained wackiness — doesn’t particularly translate. It also does little to illuminate the more serious commentary on immigration, the legacy of colonialism and the tensions within the country’s Algerian communities.
  17. We'll Never Have Paris
    This derivative comedy, in addition to not being particularly funny, gives off a sense of telling us more than we needed to know.
  18. The Great Wall
    The Great Wall flirts with romance and bleats out a little propagandistic blather about the benefits of bilateral action, but the focus throughout remains on multitudes of shifting, surging bodies — human and beast, digital and not — that, as they ebb and flow, resemble a Chinese military pageant and a lavish Busby Berkeley number.
  19. Barbecue
    Mr. Wilson’s Antoine is too much of a pill to root for, and the voice-over and wispy songs dribbling over scenes only underline the forgettable filmmaking.
  20. Preservation
    Like his ill-fated hunting party, Mr. Denham’s plans for his thriller don’t turn out quite the way he’d hoped.
  21. The Greatest Showman
    An amusement park version of P.T. Barnum is fine, as far as that goes, but if you are going to aim for family-friendly fun, you need to get the fun part right.
  22. White Rabbit
    While White Rabbit is not a lost cause, its difficult story of mistreatment and lashing out proves too much of a challenge to tell well.
  23. Loitering with Intent
    The movie has no apparent destination in mind; it ends with a complacent shrug having barely reached feature running time. Ms. Tomei, Mr. Rockwell and Mr. Geraghty get stray laughs, but “Loitering With Intent” mostly plays like an excuse for its makers to hang out.
  24. Still Life
    As the pace picks up, whatever spell the movie cast is shattered, and Still Life melts into a heap of sentimental slush.
  25. Northern Borders
    Mr. Dern is fine in his crotchety-old-man mode, but the rest of the acting is labored, and the story is an unfocused mishmash.
  26. Ghost in the Shell
    [Mr. Sanders] likes a dark palette and is good with actors, but there’s little here that feels personal, and he mostly functions as a blockbuster traffic cop, managing all the busily moving, conspicuously pricey parts.
  27. I
    I is exuberant and unselfconscious but too cartoonish to engage your emotions. The onslaught of images and music will engage your senses, though, even as you’re left giggling at the too-muchness of it all.
  28. Salvation Army
    For a film rooted in a personal story, Salvation Army feels awfully remote.
  29. Manny
    The narrative has been fashioned mostly in Mr. Pacquiao’s favor, although there are mentions of overwork, infidelity and gambling. Banal, stentorian narration by Liam Neeson (“Once victory is stolen from you, what are you left with?”) mostly gives the sense that it’s the viewer being carried around the ring.
  30. Kidnapping Mr. Heineken
    Mr. Hopkins doesn’t have much to do, but it can be amusing to see him upstage everyone else with sonorous murmurings and imperious demands for a robe and Chinese takeout.
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