The New York Times' Scores

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For 20,304 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: 9,394 out of 20304
  2. Mixed: 8,445 out of 20304
  3. Negative: 2,465 out of 20304
20304 movie reviews
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  1. Repentance
    A movie of modest means that nevertheless offers a fairly cohesive story and at least one standout performance. It may underplay an idea laden with potential, but at least that notion is present.
  2. Gunday
    Gunday, directed by Ali Abbas Zafar, may be preposterous, but it’s rarely dull. And when Mr. Khan and Ms. Chopra are on screen it’s something more. It’s downright enjoyable.
  3. Two Lives
    Two Lives is an absorbing, well-acted, moderately suspenseful mystery, although its time line of events is fuzzy to the point of impenetrability.
  4. Fatal Assistance
    A potent, persuasive and quietly furious documentary.
  5. HairBrained
    Unfortunately, the movie lacks strong enough players to fill in subtext to Mr. Kent’s formulaic setups, and the story flounders once Ms. Posey is out of the picture.
  6. Chlorine
    Jay Alaimo’s sour tale of suburban greed and marital disappointment, can’t even deliver a temporary high; mired in the blahs, the blues and the midlife crazies, this poor man’s “American Beauty” slowly sucks your will to live.
  7. Odd Thomas
    At once comic, tragic and goofily romantic, and resting too often on Odd’s clarifying narration, this young-adult lark breaches the nonsense barrier with some regularity.
  8. Stalingrad
    The movie’s few spectacles — particularly the composite image of Russian soldiers aflame after a fuel depot explodes — seem to consume the creative energies of the filmmakers, with their palpable pride in staging patriotic deaths from the safe distance of history.
  9. Son of God
    Son of God may have hit the mark if part of the goal was to create a portrait flat enough to allow audience members to project their own feelings onto the screen.
  10. Kids for Cash
    Carefully assembled and soberly presented, Robert May’s Kids for Cash takes a lacerating look at America’s juvenile justice system.
  11. The Lunchbox
    The comedy is more wry than uproarious, the melodrama gently poignant rather than operatic, and the sentimentality just sweet enough to be satisfying rather than bothersome.
  12. The Bag Man
    At least Mr. De Niro, who disappears from the movie until the end, seems to be enjoying himself. The force of his bonhomie gives this murky-looking, empty conceit of a film a desperately needed lift of facetious humor.
  13. Non-Stop
    Non-Stop doesn’t make any sense, but that’s expected, uninteresting and incidental to the pleasures of a slow-season Liam Neeson release as diverting as this one.
  14. Almost Human
    In this blood-splattered wasteland, neither original ideas nor acting skills flourish.
  15. Omar
    Mr. Abu-Assad shows a world from which all trust has vanished, where every relationship carries the possibility — perhaps the inevitability — of betrayal and where every form of honor is corroded by lies.
  16. Highway
    The cinematographer Anil Mehta’s lovely, unfussy images ground the film and show us a good bit of India... Mr. Ali’s story, though, wanders too long and too far, sometimes coming off like a forced mash-up of “It Happened One Night” and “Patty Hearst.”
  17. 3 Days to Kill
    By any reasonable standard, 3 Days to Kill is a terrible movie: incoherent, crudely brutal, dumbly retrograde in its geo- and gender politics. But it is also, as much because of as in spite of these failings, kind of fun.
  18. In Secret
    Ms. Olsen and the more persuasive Mr. Isaac may generate heat, but their performances and the filmmaking lack the frenzy that might explain how these two crazy kids turned into murderous fiends.
  19. Elaine Stritch: Shoot Me
    On a deeper level, Shoot Me is an unflinchingly honest examination of a woman who is aware that the end is approaching.
  20. The Standbys
    Ms. Riggs gives each actor a story arc of sorts, and all three are personable guides to this backstage world, explaining the process and terminology and talking openly about their lives and jobs.
  21. One Candle, Two Candles...
    Mr. Rosebiani evidently wants to avoid depressing his audience while addressing a serious subject, but his aims are likely to be lost in this film’s strained mugging.
  22. Black Out
    Taking a credibility-straining premise and running with it, the Dutch director Arne Toonen gives Black Out way more energy than sense. Luckily, his antihero, Jos (Raymond Thiry), lacks neither.
  23. Barefoot
    The movie acts like screwball comedy, but there are no laughs as Daisy and Jay’s connection lurches toward implausible romance.
  24. Angels in Stardust
    Angels in Stardust ends up being too tidy to be a great coming-of-age movie, but it’s a decent one.
  25. Pompeii
    Mr. Anderson displays his mastery as a director in the sword-fighting scenes... But the glares and eye rolls that bookend these scenes are what make this film both GIF-ready and campy fun.
  26. Chaplin of the Mountains
    The film embraces humor — would you want a one-legged man guiding you through a minefield? — without surrendering sensitivity. The screenplay may echo with atrocities, but it’s not consumed by them.
  27. Child's Pose
    It’s too bad that the filmmakers don’t allow an occasional breath of air into the sepulchral proceedings or ease up on the increasingly heavy-handed lessons.
  28. Lucky Bastard
    Robert Nathan’s Lucky Bastard is a sorry-looking found-footage thriller as unconvincing as its characters’ thrashing orgasms.
  29. Girl on a Bicycle
    It’s all light as a feather, with Jeremy Leven, the writer and director, landing some good multinational jokes along the way.
  30. Beijing Love Story
    There’s a little effort to give each story its own tempo and style; you notice bits and pieces plucked from other movies or TV shows.
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