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. Out Loud
    That the movie exists at all attests to the courage of the participants to see it through to the end. Out Loud bleeds with sincerity.
  2. Not Yet Begun to Fight
    With their sensitive feature clocking in at an hour, the filmmakers make you wish only that they had developed their material further.
  3. House in the Alley
    [A] slight exercise, which, for all its modesty, generates a measure of dread.
  4. When I Walk
    Astonishingly, this is neither as depressing nor as arm-twistingly uplifting as you might expect. Mr. DaSilva’s experience behind a camera shows in his brisk pacing, clear narrative structure and the awareness that a story of sickness needs lighthearted distractions.
  5. I Am Divine
    I Am Divine doesn’t dwell on Milstead’s growing pains. It is an aggressively upbeat show-business success story that focuses on his self-reinvention.
  6. Spinning Plates
    This dully structured film makes its points early and often, treading water before a purposely delayed big finish.
  7. Jackass Presents: Bad Grandpa
    It’s hard to score big laughs with hidden-camera material these days because there has been so much of it since the “Jackass” TV show, but Mr. Knoxville and his young sidekick still land a few jaw-droppers.
  8. The Square
    Even though The Square depicts widely covered recent events, it still feels like a revelation. This is partly because of the immediacy of Ms. Noujaim’s approach, which often puts the viewer in the midst of chaos as it unfolds.
  9. Bridging the Gap
    Blithely hokey, amusingly eager to distract and rather entertaining, the film resembles a children’s travel show with music-video elements more than it resembles a straight-up documentary.
  10. The Counselor
    Mr. Scott’s seriousness isn’t always well served by the scripts he films, but in Mr. McCarthy he has found a partner with convictions about good and evil rather than canned formula.
  11. Toad Road
    Mr. Banker teases us with a dizzy, dislocating shooting style that throws up a succession of eerily arresting images. Even so, his film never overcomes the fact that watching drugged-out wastrels is rarely interesting — unless, of course, you’re one of them.
  12. Remington and the Curse of the Zombadings
    The film’s questionable continuity, bargain-basement effects and overload of gay clichés may not be to everyone’s taste, but its queer-eye-for-the-undead-guy exuberance and warmth of spirit are irresistible.
  13. Blue Is the Warmest Color
    Mr. Kechiche’s style is dizzy, obsessive, inspired and relentless, words that also describe Adèle and Emma and the fearless women who embody them. Many more words can — and will — be spent on “Blue Is the Warmest Color,” but for now I’ll settle for just one: glorious.
  14. Bastards
    The story grips you entirely even if Ms. Denis’s worldview here finally feels like a tomb: terrifying, pitiless, inevitable.
  15. Shahid
    Mr. Mehta has done something difficult. He has made a film of conviction that’s neither plodding nor preachy.
  16. Boss
    Boss is billed as an action comedy, but it isn’t always clear what is part of the joke and what isn’t.
  17. The Taiwan Oyster
    Part romance, existential meditation and dark comedy, the film, like its perplexed characters, isn’t always certain of what it wants to be. Yet in the end it does pretty well for itself, despite those self-doubts.
  18. Cut to Black
    A mildly engaging lowlife odyssey that struggles not to choke on its own style.
  19. Seduced and Abandoned
    Seduced and Abandoned may be the year’s most entertaining put-on.
  20. Torn
    Slowly uncovering the prejudices that calamity can unleash, Michael Richter’s screenplay lays bare the damage wrought by Sept. 11 while deftly dodging hysteria, wondering how we differentiate between innocent teenage behaviors and dangerous red flags.
  21. The Prime Ministers: The Pioneers
    A bit overstuffed with history and tales of perseverance, the film doesn’t have room for balanced political analysis or even exposition at times. It’s an omission that feels like a missed opportunity, but maybe that will be resolved in the next installment.
  22. Peaches Does Herself
    Feeling a little stage-bound because of frequent far-back long shots, the show can’t quite become a true extravaganza on screen. But Peaches — even without commanding the screen — shines through, vulnerability winning out over bravado here.
  23. Lost for Words
    The conventions are trundled out in Stanley J. Orzel’s cross-cultural romance, Lost for Words, but not the tension or the chemistry.
  24. The Human Scale
    If the result sometimes feels like a sedate lecture, the global journey strongly enlivens the lesson; it’s fascinating how alike and how different cities can be, and more fascinating to imagine what they may become.
  25. Hellbenders
    This movie has the humor and insouciant pileup of bizarre and disgustingly beautiful images of a cult classic on late-night cable.
  26. Haunter
    Lifted by the sepulchral Stephen McHattie as Lisa’s nemesis, the film’s frazzled thought experiment becomes an adequate yarn.
  27. Enzo Avitabile Music Life
    The fuzziness of Mr. Avitabile’s sentiments on boundary-blind unity is echoed in the movie’s slack, tag-along portraiture.
  28. American Promise
    Race is raised as a possible reason for Idris’s and Seun’s problems, and then other potential determinants (a learning disorder, illness) are introduced. But the filmmakers don’t engage with these life events and issues: They just line them up as if their significance were transparent.
  29. CZ12
    The film is about exotic locations (including a volcano), garish humor (often at the expense of Mr. Chan or women), fisticuffs, stunts and frenetic visual bombast.
  30. Big Ass Spider!
    The director, Mike Mendez, shows no signs of knowing how to make campy horror work the way that the creators of similar movies on Syfy do. It has to be either subtle or over the top. This is neither.
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