The New York Times' Scores

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:
20304 movie reviews
  1. While there’s much to admire in how Mr. Tucci and Ms. Eve perform Mr. LaBute’s artful, apocalyptic duet, this is one seriously out-of-date tune.
  2. There are, once again, too many busy, uninterestingly staged battles that lean heavily on obvious, sometimes distracting digital sorcery. But there are also pacific, brooding interludes in which the actors — notably Mr. Freeman, an intensely appealing screen presence — remind you that there’s more to Middle-earth than clamor and struggle.
  3. Mr. Bale, like some other stars who embrace playing ugly, feels as if he’d been liberated by all the pounds he’s packed on and by his character’s molting looks, an emancipation that’s most evident in his delicately intimate, moving moments with Ms. Adams and Ms. Lawrence.
  4. The best parts of Saving Mr. Banks offer an embellished, tidied-up but nonetheless reasonably authentic glimpse of the Disney entertainment machine at work.
  5. This modest film observes evacuees from Futaba, a small town near the Fukushima Daiichi nuclear power plant, making do in their temporary shelter. Partly because this version of the movie was drastically edited to 96 minutes from 145, it feels sketchy and disjointed.
  6. Trying to gather too much into his net, Mr. Stewart gets a little lost, but his bottom line could not be clearer: When the oceans die, so do we.
  7. Mr. Verrette shows talent in conveying complex emotions, yet he’s handicapped by his grand ambition and an inability to do simple scenes well.
  8. For all the shooting, knifing and nattering about sleeper cells, the film feels weirdly static and terminally tired.
  9. After barely stirring to life, Night Train to Lisbon mercifully expires.
  10. Mr. Clark finds unexpected heart amid cliché and frigidity.
  11. A wondrous and slightly deranged story about oddballs embracing their differences.
  12. Like the 1994 documentary landmark “Hoop Dreams,” Lenny Cooke measures out the years with a pensive jazz motif, but the film feels comparatively stuck on a couple of notes.
  13. More reminiscent of public television than of cinema, this rather humbly wrought movie makes no claim to being comprehensive in recalling a scary time.
  14. One of those who’s-the-murderer parlor games is a plot pillar of Merry Christmas, an experiment in filmmaking by Anna Condo that itself feels like a parlor game, and not a particularly entertaining one.
  15. A slight movie that could have been significantly better with a little story doctoring.
  16. The fatalities and clichés escalate, as the wife plays the femme fatale, and the men run circles around one another amid the dust, blood and some tonally off, ill-conceived cutesiness.
  17. The movie’s observations of the wolf pack mentality of privileged teenage boys who view every conquest as proof of their prowess is casually devastating.
  18. The Last Days on Mars ultimately can’t transcend its pulpy roots.
  19. Whatever thoughtful instincts Mr. Castellitto might possess are undermined by his addiction to cinematic prettiness.
  20. This is not a biopic, it’s a Coen brothers movie, which is to say a brilliant magpie’s nest of surrealism, period detail and pop-culture scholarship. To put it another way, it’s a folk tale.
  21. Desultory, dauntingly DIY but secretly efficient, Breakfast With Curtis is something like a leafy summer afternoon in movie form.
  22. It’s a heavy, solemn tale of blood ties that turns into a melodramatic gusher filled with abstractions about masculinity, America and violence, but brought to specific, exciting life by Christian Bale, Casey Affleck and Woody Harrelson.
  23. If Bullett Raja had more spark, it might be fun to contemplate its barely hidden crisis-of-masculinity subtexts.
  24. It’s as thinly written and unoriginal as made-for-television seasonal filler, and why it isn’t on the Hallmark Channel or Lifetime is a mystery, but fans of the singers in it might get a kick out of seeing them.
  25. The problems are clearly explained, though the film doesn’t have solutions any more than public officials do, since shoreline development is already a fact of life.
  26. The purpose was no doubt more spiritual than the film conveys; if so, the execution doesn’t do the effort justice.
  27. Ms. Hanna’s creativity and force are catching. But other voices are needed to evaluate her achievements with a fuller sense of cultural context and perspective.
  28. [Mr. Mettler’s] images of galaxies, mandalas, particle accelerators and glowing red lava become his real subjects. He uses music and sound to control the pace, to slow time, as if cinema were a form of enforced meditation.
  29. Mr. Elba’s towering performance lends “Long Walk to Freedom” a Shakespearean breadth.
  30. A messy collision of strained portrayals, semi-comic incidents and tear-jerking tactics.

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