The New York Times' Scores

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For 20,311 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: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
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  1. Oblivion
    Oblivion never transcends its inspirations to become anything other than a thin copy.
  2. A Love Affair of Sorts
    The real problem here, though, is that noting the it's-all-about-me nature of modern life already feels like a point that no longer needs making. Yeah, we're self-absorbed and shallow; so what else is new?
  3. Scary Movie 5
    Marlon Wayans’s satire “A Haunted House” got to “Paranormal” first, and for a much smaller budget delivered bigger laughs.
  4. Septien
    A lackadaisical dive into backwoods barminess and masculine neuroses, this low-budget paean to indoor plumbing and rampant facial hair doesn't unfold so much as unravel.
  5. The Host
    Dopey, derivative and dull, The Host is a brazen combination of unoriginal science-fiction themes, young-adult pandering and bottom-line calculation. That sounds like it should work (really!), but it never does, largely because the story is as drained of energy as are its moony aliens.
  6. Thor: The Dark World
    The battle scenes are as lacking in heat and coherence as the central love story.
  7. Seventh Son
    If nothing else, it’s amusing to imagine what [Mr. Bridges] and Ms. Moore chatted about between takes and how each managed to keep from cracking up, more or less.
  8. The Son of No One
    The Son of No One self-destructs in a ludicrous, ineptly directed anticlimactic rooftop showdown in which bodies pile up, and nothing makes a shred of sense.
  9. Golf in the Kingdom
    Everyone spouts nicely turned baloney elevating golf to the level of a religious experience, which grows tedious fairly quickly. The film almost works, though, if you view the whole thing as a very, very dry comedy.
  10. Father of Invention
    The screenplay, by Mr. Cooper and Jonathan D. Krane, is so sketchy that it feels like a hastily executed first draft.
  11. Bunraku
    Everything feels secondhand in Guy Moshe's Bunraku, a potpourri of genres that ends up a morass of clichés.
  12. The Lucky One
    If realism is what you're after, you'll do better at "The Three Stooges." The Lucky One is where you will find death, redemption and kisses in the rain.
  13. Creature
    The six actors in the central, edible roles seem as if they could have pulled off a "Scream"-like satire, but since they weren't asked to, there's nothing much for them to do but follow the clearly visible paths to their doom.
  14. Grave Encounters
    As the uniformly annoying characters stumble around, screaming and cursing, we don't give a hoot for their survival. Quite the reverse: we're counting the minutes until the asylum's ghostly inhabitants silence them for good.
  15. Brother's Justice
    The career of the actor Dax Shepard hasn't skyrocketed, but neither has it sputtered...Brother's Justice, his flailing, ultralow-budget directorial debut, will not accelerate his professional trajectory.
  16. After Earth
    For the most part it is an uninteresting slog alleviated only by the occasional unintended laugh and moments of visual beauty. Mr. Shyamalan generally torpedoes his movies with overweening self-seriousness.
  17. The Raid: Redemption
    The mousetrap setup and tight fight spaces, the bad blood and cruel deaths - soon makes the movie grindingly monotonous, a blur of thudding body blows.
  18. The Divide
    We wait, from one cringe-inducing, hide-your-face-from-the-screen act after another, to see how much worse the behavior will become.
  19. 13
    What does it add up to? Nothing much. A tense, paranoid nightmare with a chilly metaphysical overview has been trampled into a blustering, bad cartoon.
  20. The Greening of Whitney Brown
    As she learns the value of public schools and pickup trucks, her erstwhile friends in Philadelphia seem happy to be rid of her. By movie's end, you'll feel exactly the same.
  21. The Greater Good
    This emotionally manipulative, heavily partial look at the purported link between autism and childhood immunization would much rather wallow in the distress of specific families than engage with the needs of the population at large.
  22. Silver Tongues
    Filled with joyless people in drab rooms (Josh Silfen's grubby cinematography doesn't make things any cheerier), Silver Tongues takes a novel idea and uses it to jerk us around. Swirling with unease, its scenes set us up for a payoff that never materializes and strand its actors in a bitter present.
  23. Beneath the Darkness
    Someone involved with Beneath the Darkness has either watched too many horror movies or not enough. There is not an original thought in this story, written by Bruce Wilkinson, or in the way it is directed by Martin Guigui.
  24. The Viral Factor
    The Viral Factor wants to be both an action movie and a soap opera. But the merging of the two genres by Dante Lam, a director based in Hong Kong, is clumsy, and so is the film.
  25. Tyler Perry's Temptation
    Limp pacing and countless shots of Washington’s skyline plague the narrative. Ms. Smollett-Bell exudes an earthy appeal, but it’s the charismatic Mr. Jones who steals the picture. Given all the stifling preachiness, that’s to be expected.
  26. Won't Back Down
    However you take its politics, the film upholds a dreary tradition of simplifying and sentimentalizing matters of serious social concern, and dumbing down issues that call for clarity and creative thinking. Our children deserve better.
  27. Tim and Eric's Billion Dollar Movie
    A disposable trifle of fleeting rewards that - like many a feature built around a "Saturday Night Live" sketch - shows its seams after three minutes.
  28. A Good Day to Die Hard
    Everything that made the first “Die Hard” memorable — the nuances of character, the political subtext, the cowboy wit — has been dumbed down or scrubbed away entirely.
  29. Dark Tide
    Long before it ends Dark Tide capsizes and sinks with a sickening glug.
  30. October Baby
    Not even a dewy heroine and a youth-friendly vibe can disguise the essential ugliness at its core: like the bloodied placards brandished by demonstrators outside women's health clinics, the film communicates in the language of guilt and fear.
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