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. Now You See Me
    Long before the story culminates with a preposterous final revelation, whatever hopes you had that Now You See Me might have had anything to say about the profession of magic, rampant greed or anything else have been dashed.
  2. Shadow Dancer
    The movie takes no political positions. With an icy detachment, it peers through the fog of war and examines the slippery military intelligence on both sides to portray a world steeped in secrecy, deception and paranoia.
  3. The East
    It may be asking too much of The East — which is, after all, a twisty, breathless genre film — to wish that it would frame the contradictions of contemporary capitalism more rigorously. The movie is aware that they exist, and wishes that they could be resolved more or less happily, which is hard to argue with, though also hard to believe.
  4. Hannah Arendt
    Hannah Arendt conveys the glamour, charisma and difficulty of a certain kind of German thought.... The movie turns ideas into the best kind of entertainment.
  5. Nancy, Please
    It’s a brutally unsympathetic portrait of situational anxiety that withholds comfort from Paul and viewer alike, and Mr. Semans refuses to relent.
  6. A Wedding Invitation
    A Pan-Asian romantic melodrama that virtually pokes you in the eye with its fakery.
  7. A Green Story
    This stately film lays out the good, the bad, the sad and the proud in stark patterns, to mostly soporific effect.
  8. Fast & Furious 6
    A satisfying thrill ride, at least on a par with the earlier installments.
  9. Epic
    As beautiful as it is, Epic is fatally lacking in visceral momentum and dramatic edge.
  10. The English Teacher
    The acting, especially Ms. Moore’s, is solid. But her strong, sympathetic performance fails to transform The English Teacher into anything more than a sitcom devoid of laughs, except for a soupçon of literary humor. It is a movie at odds with itself.
  11. We Steal Secrets: The Story of WikiLeaks
    For all its faults, “We Steal Secrets” reminds us that despite the potential of WikiLeaks, its project of truth and consequences remains treacherous and complicated in practice.
  12. Fill the Void
    What the film makes clear, with unfailing sensitivity and wry humor, is that for Shira and her family the ordinary arrangements of living are freighted with moral and spiritual significance.
  13. Before Midnight
    Before Midnight is a wonderful paradox: a movie passionately committed to the ideal of imperfection that is itself very close to perfect.
  14. The Hangover Part III
    The Hangover Part III, directed by Todd Phillips from a screenplay he wrote with Craig Mazin, is a dull, lazy walkthrough that along with "The Big Wedding" has a claim to be the year's worst star-driven movie.
  15. Plimpton! Starring George Plimpton as Himself
    A skilled portrait of a literary light shadowed by his public profile. The film, written and directed by Tom Bean and Luke Poling, tacitly suggests a reconsideration of its subject, who deserves it.
  16. 3 Geezers!
    This is one terrible movie.
  17. Doin' It in the Park: Pick-Up Basketball, NYC
    Paced by Eddie Palmieri’s up-tempo, percussive score, “Doin’ It” bounces like a crossover dribble, gliding swiftly and surely through interviews, videos and history lessons, then transitioning to today’s dedicated ballers and playground culture.
  18. Aurangzeb
    The plot of Aurangzeb is inevitably too complicated, and the themes presented more interestingly than they are wrapped up. But for much of the nearly two-and-a-half-hour running time, it ably weaves Bollywood tropes...with contemporary outrage at the rules of the game.
  19. Erased
    Viewed solely as a string of action sequences, Erased delivers the kind of dryly efficient, wearyingly familiar entertainment that already clogs too many of our movie screens.
  20. State 194
    This is certainly competent filmmaking, sort of like a long “60 Minutes” segment without the confrontational interview style.
  21. Elemental
    The filmmakers behind Elemental might have done better to commit to a single portrait and been more fearless about avoiding familiar oratory, but small steps are progress too.
  22. Cape Spin: An American Power Struggle
    A documentary should give audiences insights they can’t get elsewhere. Otherwise, it’s just one more tumble in an endless media churn.
  23. Bidder 70
    Wisely deciding to refrain from rapping our knuckles with greenhouse gas statistics and Al Gore-style pie charts, the filmmakers fashion a portrait of a conscience spurred to action by an unexpected opportunity.
  24. Re-emerging: The Jews of Nigeria
    “Re-emerging” can be pedestrian as filmmaking, though it remains interesting as long as it remains in Nigeria.
  25. Black Rock
    The male characters here are too thinly developed for this to be a top-notch survival thriller, but Ms. Aselton knows how to get the pulse pounding.
  26. Pieta
    Morally cunning and with a tone as black as pitch, Pieta, the 18th film from the South Korean director Kim Ki-duk, is a deeply unnerving revenge movie in which redemption is dangled like a cat toy before a cougar.
  27. 33 Postcards
    [A] sweet if not very credible film.
  28. Valentino's Ghost
    You may not agree with every observation in Michael Singh’s documentary Valentino’s Ghost. But this engrossing examination of American perceptions of Arabs and the Arab world gets you thinking.
  29. Frances Ha
    With its swift, jaunty rhythms and sharp, off-kilter jokes, Frances Ha is frequently delightful. Ms. Gerwig and Mr. Baumbach are nonetheless defiant partisans in the revolt against the tyranny of likability in popular culture.
  30. Augustine
    Everything depends on the subtlety of the direction and the charisma of the performances. Augustine is intellectually satisfying partly because it communicates its ideas at the level of feeling, through the uncanny power of Soko’s face and body.
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