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. The Hundred-Foot Journey
    The Hundred-Foot Journey is likely neither to pique your appetite nor to sate it, leaving you in a dyspeptic limbo, stuffed with false sentiment and forced whimsy and starved for real delight.
  2. Let's Be Cops
    [A] disposable comedy.
  3. Third Person
    The storytelling is infuriatingly coy, as if Mr. Haggis were trying to fool you (and himself) into thinking that he has something to say. Third Person finds Mr. Haggis, like Mr. Neeson’s screen alter ego, running on empty.
  4. Jessabelle
    Jessabelle is depressingly rote.
  5. Altered States of Plaine
    Muddy sound contributes to the atmosphere of confusion, while the script (credited to the director, Nick Gaglia, along with Mr. Gallagher and Ms. Donohue) goes nowhere.
  6. Farmland
    Smooth and folksy, it traffics in broad, unchallenged claims that serve a single purpose: to persuade us that the only thing wrong with today’s farming methods is our misinformed perception of them.
  7. Don Peyote
    A bit too true to a frugal indie philosophy, where winging it beats reshooting, the film gets more woolly and unfocused; many scenes feel improvised and only occasionally hit their marks.
  8. Rage
    The hand-me-down showiness and sluggish storytelling by the director, Paco Cabezas, underline the monotony in this ordinary revenge thriller.
  9. Deepsea Challenge 3D
    James Cameron upstages the ocean in Deepsea Challenge 3D, a shallow vanity project that invites us to join him in marveling at his own daring.
  10. American Jesus
    It’s not clear what Aram Garriga thinks he is accomplishing in his simplistic “American Jesus,” but he’s not accomplishing much.
  11. Cabin Fever: Patient Zero
    Less methodical and witty than its predecessors, Patient Zero often turns its infected characters into mindless, lurching zombies.
  12. I Am I
    The film, financed by a Kickstarter campaign, looks polished enough. But its investors’ money might have been better spent elsewhere.
  13. The Beastmaster
    It's meant as a tiny bit of praise to say that the movie, which was made in southern California, looks as if it had been shot in Spain or Yugoslavia. It looks both big and cheap.
  14. Highlander
    Since none of the characters makes sense even on the movie's own terms, Highlander keeps on exploding for almost two hours, with nothing at stake.
  15. Spare Parts
    The movie’s setup has underdog appeal in spades. But it’s all for naught in a screenplay, by Elissa Matsueda (working from Joshua Davis’s 2005 article in Wired magazine), that plays down intellect in favor of corn and cliché.
  16. Under the Electric Sky
    This glossy movie from Dan Cutforth and Jane Lipsitz about the Electric Daisy Carnival in Las Vegas feels the burden of promotional urges and lacks a sense of immersion in a multistage event attended by hundreds of thousands.
  17. Radio Free Albemuth
    This lifeless adaptation only proves that making entertaining movies out of hard-to-swallow ideas is as challenging as you might think.
  18. Louder Than Words
    There’s a way to tell this story that wouldn’t come across as soggy or manipulative. However well intentioned, Louder Than Words doesn’t find that tone.
  19. Sinister 2
    Despite Mr. Ransone’s goofy charm, Sinister 2 can’t claim the same finesse, substituting pedestrian plotting and a more graphic gore for the original’s restraint.
  20. Uncharted
    At least give Sony credit for recycling. That is the best that can be said for its nitwit treasure-hunt movie Uncharted, an amalgam of clichés that were already past their sell-by date when Nicolas Cage plundered the box office in Disney’s “National Treasure” series.
  21. War Story
    Aiming for a moody portrait of psychological distress, Mark Jackson directs with a sluggish pace, an abstract style and a dismal aesthetic that rebuff involvement.
  22. Kick
    A star can lift a movie like Kick, making its silliness sublime. That doesn’t happen here.
  23. Cam2Cam
    For a would-be skin-and-horror treat, though, Cam2Cam is surprisingly prudish. It doesn’t really traffic in sex; the camera mostly averts its gaze from the murders, preferring blood spatter patterns; and the acting is predictably wooden.
  24. 37: A Final Promise
    It’s an awkward mix of sentiment, underdeveloped relationships and rock ’n’ roll pretensions, and it never quite gels into the “Love Story” for the 21st century that it wants to be.
  25. Rudderless
    Rudderless, the misbegotten directorial debut of William H. Macy, is so dishonest, manipulative and ultimately infuriating that it never recovers after its bombshell revelation two-thirds of the way into the movie.
  26. Swim Little Fish Swim
    Mumbly dialogue, relentlessly jittery camerawork, a star who is also co-director and co-writer: Yes, it’s time for another movie that mistakes the claustrophobic world of young New York artsy types for something interesting.
  27. Outcast
    The barnacle-encrusted plot...is dumbed down to the studs.
  28. Open Windows
    Smothered by a storm of visual tics — and the tiniest of nods to “Rear Window” (1954) — any social commentary takes second place to multitasking gimmickry.
  29. Innocence
    Hilary Brougher’s Innocence (based on Jane Mendelsohn’s 2000 novel) moves to the formulaic beats of the second-rate TV movie, albeit one cloaked in an ultra-glossy sheen.
  30. Sex Ed
    Unevenly directed by Isaac Feder, Sex Ed droops.
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