The New York Times' Scores

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For 20,303 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: 9,393 out of 20303
  2. Mixed: 8,445 out of 20303
  3. Negative: 2,465 out of 20303
20303 movie reviews
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  1. The Equalizer
    Mr. Fuqua, while not the world’s most subtle filmmaker, directs the action sequences with bluntness and clarity and effectively uses his star as an oasis of calm in a jumpy, nasty universe.
  2. The Two Faces of January
    There’s a mystery here, some thrills and blood, but mostly there are beautiful people and the kind of human hunger that devours everything and everyone in sight.
  3. Asmodexia
    If the twisty finale underwhelms, Mr. Carreté’s enigmatic style and textured images offer their own doomy rewards.
  4. The Little Bedroom
    The Little Bedroom is a gentle, melancholy drama so pale and tentative that its very colors appear washed away by grief.
  5. Not Cool
    A raunchy comedy that is so poorly executed and so unfunny that no one involved with it should ever be allowed to work in the movies again.
  6. Björk: Biophilia Live
    As skillful an orchestrator as Björk is, her crescendos and tightly designed wilderness can lose their strength with repetition. But she and her collaborators do make a pretty singing picture with their chosen audiovisual tool set.
  7. Lilting
    For much of the movie, Junn is a one-dimensional grump who pulls this schematic if unfocused movie down with each frown and harrumph.
  8. Two Night Stand
    It’s hard not to root for this couple — and, more to the point, these actors — to get together again.
  9. The Song
    The actors, none of whom have much experience, are quite convincing, but the story — Jed falls, then sees the error of his ways — is an oft-told one.
  10. Plastic
    It’s hard to escape the sense that Plastic is itself a cheap knockoff, but the point is not to look too closely.
  11. Gone Girl
    At its strongest, Gone Girl plays like a queasily, at times gleefully, funny horror movie about a modern marriage, one that has disintegrated partly because of spiraling downward mobility and lost privilege. Yet, as sometimes happens in Mr. Fincher’s work, dread descends like winter shadows, darkening the movie’s tone and visuals until it’s snuffed out all the light, air and nuance.
  12. Hollidaysburg
    Hollidaysburg is a pleasant if unremarkable coming-of-age film.
  13. Henry & Me
    The animated tale Henry & Me aims to inspire sick children, but it also aims to promote the Yankees and the team’s mythology. The two goals don’t mesh very well.
  14. Reclaim
    This isn’t activism; it’s by-the-numbers suspense.
  15. Iceman
    Best of all, Mr. Law doesn’t skimp on wide-screen compositions; this is one movie designed for the theater, not the couch.
  16. Brush with Danger
    Although the characters repeatedly express their worship of “original art” in gilded frames, the script consists of singularly unoriginal dialogue.
  17. Art and Craft
    Art and Craft adds fuel to the argument that the art market is a rigged game manipulated by curators and gallerists spouting mumbo-jumbo.
  18. Hector and the Search for Happiness
    Mr. Pegg, normally a live wire, makes an affable hero, but the movie often forces him into blandly earnest mugging.
  19. Life's a Breeze
    Life’s a Breeze is ultimately about as cutting and memorable as its title.
  20. Stop the Pounding Heart
    Its scenes, quiet and undramatic, are nonetheless suffused with an almost lyrical intensity, and its sympathy is as limitless as its curiosity.
  21. 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.
  22. A Life in Dirty Movies
    Wiktor Ericsson’s A Life in Dirty Movies outlines this filmmaker’s work reasonably well, but, somewhat surprisingly, truly hits home with a heartwarming look at Mr. Sarno’s relationship with his wife, Peggy.
  23. Fort Bliss
    Ms. Myers too often tells rather than shows, and she doesn’t have the cinematic skill set to transform her idea into a fully satisfying movie, especially at this low-budget level.
  24. Pump
    The movie goes beyond alarmism with solutions that on the surface would seem to find common ground between environmental advocacy and unfettered capitalism.
  25. Space Station 76
    Not that Dr. Bot and the oblivious self-righteousness won’t delight certain fans, but this remains a protracted, scattershot comedy sketch that never quite nails its tone.
  26. Tusk
    The result is so out there that you can imagine Mr. Smith and his collaborators rolling in the aisles at their own preposterousness. If you can find your inner 16-year-old, you might just join them.
  27. A Walk Among the Tombstones
    Nasty, brutal and unforgiving, A Walk Among the Tombstones is one of those rare contemporary cinematic offerings: intelligent pulp.
  28. This Is Where I Leave You
    There is almost nothing here that you haven’t seen a dozen times before, and even the surprises feel flat and familiar. More dispiriting still is that this drab complacency is wrapped around messages of daring, honesty and spontaneity.
  29. The Maze Runner
    A perfectly serviceable entry in the young-adult dystopian sweepstakes.
  30. The Zero Theorem
    Even as Mr. Gilliam assails the tedium and pointlessness of Qohen’s existence, The Zero Theorem succumbs to those forces, spinning its wheels and repeating its jokes in a manic frenzy that is never as funny or as mind-blowing as it wants to be.
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