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. Patema Inverted
    The music is lovely, and the animation is soft and imaginatively detailed. Patema and Age may not know what’s upside down or right-way up, but their director is never in any doubt.
  2. The Damned
    Playing characters with no real substance, the actors struggle to develop a sense of shared peril.
  3. Mardaani
    In her pursuit, Shivani pistol-whips perps, performs a flying tackle on a criminal astride a motorcycle, shoots an assassin at point-blank range and stabs an assailant through the hand. Her final confrontation with Walt is a sweaty aria of hand-to-hand martial arts combat.
  4. Through a Lens Darkly: Black Photographers And The Emergence Of A People
    At times, Mr. Harris’s voice-over narration veers into academic abstraction or lyrical emotionalism in ways that undercut the eloquence of the images, but over all he is a wise and passionate guide to an inexhaustibly fascinating subject.
  5. The November Man
    There is something to be said for a thriller that rips along with no regard for anything other than its own pace, coasting on Mr. Brosnan’s blunter-than-Bond suavity and Ms. Kurylenko’s beauty.
  6. Starred Up
    Though it is, finally, an affecting story of two damaged men bound by blood and something like love (and also a thrillerish catalog of double crosses and shifting allegiances), it is, above all, a study in the patterns of chaos that govern penitentiary life.
  7. 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.
  8. The Possession of Michael King
    Dim in wits and lighting, The Possession of Michael King strains our eyes, spits on our intelligence and saps our generosity of spirit. Relatively untaxed, however, is the part of the brain that processes new experiences: There’s scarcely a shot or an idea in this first feature from David Jung that we haven’t seen many times before.
  9. May in the Summer
    The hand-wringing and revelations are familiar from many wedding movies, but May in the Summer gains added potency from its cross-cultural tensions and the drama the characters face in reconciling tradition with modern life.
  10. 14 Blades
    While 14 Blades grinds on perhaps a half-hour too long, its ambitions and energies show that for a fresh take on the western, go east.
  11. To Be Takei
    [Ms. Kroot's] banalizing documentary is self-defeating as it tags along with Mr. Takei and his wonky husband, Brad, on their busy daily schedule.
  12. Jersey Shore Massacre
    Acknowledging Hurricane Sandy, Jersey Shore Massacre reminds viewers that it’s hardly the worst disaster to hit the region. But it gives the Hindenburg stiff competition.
  13. Kink
    A fascinating profile of the online pornography provider Kink.com.
  14. Are You Here
    [An] endearing muddle, which flails in search of an identity.
  15. When the Game Stands Tall
    Thomas Carter, the director, whips us into a frenzy during the big winning-again-is-everything game, as all sports underdog movies must. But in the end, the only real impact is limited to a few scenes.
  16. Sin City: A Dame To Kill For
    The best antidote to all the glowering and posing is Eva Green: As Ava, the titular dame, she’s nothing short of a godsend.
  17. K2: Siren of the Himalayas
    Shedding light on the filmmaking process would have only enriched this well-wrought but limited extreme-sports portrait.
  18. Salvo
    A soulful romance, an existential action flick and something of a miracle movie — the appealing slow-burner Salvo hovers at the crossroads of genre.
  19. Kabbalah Me
    Kabbalah Me, which distinguishes between “narrow consciousness” and “expanded consciousness,” merely walks the middle ground.
  20. See You Next Tuesday
    Loving difficult people (and being difficult, and sometimes helpless) is the subject of the film’s drama, shot through with comedy and satire, thanks to Mr. Tobia’s razor-sharp, rapid cutting of scenes and needling dialogue.
  21. The One I Love
    Mr. McDowell manages and massages the mystery, even while he forgets to do much with the camera except periodically have it chase after someone. He can be frustratingly inattentive to the visual possibilities offered by the story.
  22. If I Stay
    The director, R. J. Cutler, whose previous work has mostly been in big- and small-screen documentaries, has a way of underplaying large feelings and amplifying subtle shifts of mood.
  23. Love Is Strange
    By the time the movie is over, you feel as if the people in it were friends you know well enough to tire of, and to miss terribly when they go away.
  24. Winter in the Blood
    The journey from page to screen may have battered Mr. Welch’s novel, but its lamenting heart beats loud and clear.
  25. Expedition to the End of the World
    The film is essentially an evolved hybrid of global environmental documentary and the group-trip experiments of reality television. Its biggest step onto unfamiliar terrain might be its ambivalent ending, conveying uncertainty about what can or should be done next.
  26. Red Hollywood
    Insistently cinematic and dialectical, Red Hollywood has another virtue: It doesn’t toss everyone into a single leftist lump. Differences are articulated and illustrated, as individual voices rise and fall, fade and endure.
  27. The Admiral: Roaring Currents
    A turgid, foursquare naval epic.
  28. Jake Squared
    Jake Squared combines the most grating tendencies of meta navel-gazing with the sexism of reality television — pushing the limit of viewer tolerance to zero.
  29. A Will for the Woods
    It’s possible to admire the four directors’ unflinching depiction of the dying process, but the film is mostly unilluminating and grim — not least because almost all of the deaths discussed are untimely.
  30. 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.
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