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. Kelly & Cal
    The performances of Ms. Lewis and Mr. Weston crackle with authenticity. Like a good punk-rock song, this bracingly honest, tough-minded vignette stays true to itself.
  2. Wetlands
    The tone is breezy, bright and brash, vividly illuminated by Ms. Juri’s extraordinarily unprotected and utterly fearless performance.
  3. Frontera
    Frontera settles into a shallow, unconvincing drama with two heroes.
  4. Memphis
    A soulful cinematic tone poem.
  5. God Help the Girl
    Belle and Sebastian fans will be fully sated; everyone else might feel as if they’d consumed a meal consisting entirely of meringue.
  6. No No: A Dockumentary
    As this smart and sympathetic profile shows, Dock Ellis didn’t need a no-hitter, stoned or otherwise, to define himself; he was his own best work.
  7. Thunder and the House of Magic
    The story is unremarkable, but its execution zings.
  8. 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.
  9. Naked Opera
    Mr. Rollinger, a protagonist of a curiously circumscribed life, proves to have an opaque appeal.
  10. Falcon Rising
    Mr. Chapman administers some of his (amplified) thwacks and drop kicks with a likable, you-should-know-better air of amusement, recalling a Reagan-era TV cop show.
  11. The Identical
    This movie’s earnest infectiousness is tough to deny.
  12. But Always
    Watching it means waiting for the other shoe to drop: anticipating the moment when this already tacky weepie will resolve itself in horrific, exploitative fashion.
  13. The Congress
    Ari Folman’s genre mash-up The Congress could use a freakier title, something either more appealing or appalling to go with the weird, sometimes wonderful visions flowing through it.
  14. Last Days in Vietnam
    The story is full of emotion and danger, heroism and treachery, but it is told in a mood of rueful retrospect rather than simmering partisan rage.
  15. Raja Natwarlal
    Mr. Deshmukh’s setup can be overly fussy — some of the con machinations seem needlessly complicated and hard to follow, or maybe not quite worth following — but his payoff works. And his cast, too, hits the right notes and finds an easy rhythm.
  16. Gringo Trails
    The only urgent message in Gringo Trails would seem to be the screamingly obvious one: Visitors should behave themselves.
  17. Rocks in My Pockets
    The bravery of Ms. Baumane’s own coping methods (which some may disagree with) brings her tough-minded film to a cleareyed, forward-looking conclusion that doesn’t lose sight of her demons.
  18. As Above, So Below
    This quivering effort from the director John Erick Dowdle only increases in impenetrability whenever anything mildly curious occurs.
  19. Kundo: Age of the Rampant
    For all its gloss, “Kundo” fails to resonate. You appreciate the execution, but the film is hindered by its lack of novelty and metaphorical weight.
  20. Second Opinion: Laetrile at Sloan-Kettering
    Having a mild-mannered writer tell this story by sitting in a chair in front of some pretty art in a house museum and just talking seems lackadaisical, but Mr. Moss’s message is clear, shrewdly edited and peculiarly interesting.
  21. The Strange Color of Your Body's Tears
    Enervatingly synthetic, The Strange Color of Your Body’s Tears slices and dices the images and tropes of Italian giallo-style slasher films into an inert pile of style.
  22. Life of Crime
    As a late-summer caper movie, it hits the spot. The film offers the intriguing contrast of actors and a director (Daniel Schechter) taking a different approach to known material.
  23. The Last of Robin Hood
    The story comes to feel mild (and incomplete) in its tempered nostalgia.
  24. Canopy
    The strength of Canopy is its filmmaking. With this haunting work, Mr. Wilson, joined by the talented cinematographer Stefan Duscio and the sound designers Rodney Lowe and Nic Buchanan, has made a promising debut.
  25. The Calling
    Preposterous as it is, The Calling remains stubbornly suspenseful until near the end.
  26. Jamie Marks Is Dead
    Temperate in tone but screaming with subtext, Jamie Marks Is Dead climbs above the current glut of supernaturally inclined entertainment by dint of a hushed unease that permeates almost every frame.
  27. Last Weekend
    Mostly, Last Weekend is an elegiac ode to affluence.
  28. The Naked Room
    While The Naked Room may raise awareness, it often feels voyeuristic in less productive ways.
  29. The Notebook
    The Notebook is a skillfully made movie, with sequences that may haunt you after you leave the theater. But it lacks the power to turn its virtuosity, or the emotional discipline of its remarkable young leads, into a source of insight.
  30. Shadows from My Past
    The issue of national atonement is a sprawling topic, one ill served by the film’s unfocused and amateurish presentation. At times, the movie seems less like a full-fledged documentary than like a pitch session.
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