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. Star Trek Into Darkness
    It’s hard to emerge from “Into Darkness” without a feeling of disappointment, even betrayal.
  2. Old Dog
    Raw and resolute, this unsettling fable feels driven by an anger that remains largely unexpressed.
  3. Becoming Traviata
    May not be fully satisfying as a documentary. But it has what any good movie needs: a star — the ever-game soprano Natalie Dessay.
  4. The Girls in the Band
    The Girls in the Band is everything a worthwhile documentary should be, and then some: engaging, informative, thorough and brimming with delightful characters.
  5. Java Heat
    The film, directed by Conor Allyn, is rarely more than a few minutes away from a gun battle or a tedious chase, and soon you cease to care who is shooting at, or running from, whom or why.
  6. No One Lives
    Mr. Kitamura, an action enthusiast who prefers to show rather than tell, seems unaware that the film’s dialogue is laughable, its characters unfathomable and the acting often less than optimal.
  7. Pilgrim Song
    Ostensibly about a walk in the woods, this slight, uncertain film spends most of its time off trail.
  8. The Painting (Le Tableau)
    This is a sweet adventure story for children. (Surely, American parents can deal with the bare breasts of one talking painting.) For adults it is short on narrative sophistication but visually a true objet d’art.
  9. He's Way More Famous Than You
    This frenetic movie has moments of wit, and Ms. Feiffer, a seasoned screen and Broadway performer, has range, stamina and charisma.
  10. How Sweet It Is
    Brian Herzlinger’s How Sweet It Is, an ode to the healing powers of musical theater, misfires so badly at the beginning that it takes a while to notice when it goes from godawful to sweetly awful.
  11. The Second Meeting
    Their meeting was arranged by the filmmaker, and their encounters reek of false bonhomie.
  12. Aftershock
    The violence is quick and occasionally inventive, with little of the attenuated nastiness that characterizes so many genre pictures, and the photography ranges from brightly sun-kissed to down-and-dirty.
  13. Three Sisters
    Three Sisters documents extreme poverty in rural China with the compassionate eye and inexhaustible patience of a director whose curiosity about his country’s unfortunates never seems to wane.
  14. Peeples
    Revelations unfold predictably, but the subplots cohere and the assured pacing offers a stark contrast with the often disjointed tempos of Mr. Perry’s mosaics.
  15. And Now a Word from Our Sponsor
    To describe And Now a Word From Our Sponsor as a one-joke skit stretched well beyond the breaking point isn’t entirely fair, because when used ingeniously, which is very seldom, the joke lands.
  16. Venus and Serena
    Think of this movie as a greatest-hits package, with some good stuff to show but nothing very new to say.
  17. What Richard Did
    Every detail of What Richard Did rings true.
  18. Sightseers
    Working from a script by Ms. Lowe and Mr. Oram, Mr. Wheatley continues in the same bludgeoning, amusingly if dubiously deadpan fashion for what soon feels like an overextended joke.
  19. Stories We Tell
    Stories We Tell has a number of transparent virtues, including its humor and formal design, although its most admirable quality is the deep sense of personal ethics that frames Ms. Polley’s filmmaking choices.
  20. The Great Gatsby
    Less a conventional movie adaptation than a splashy, trashy opera, a wayward, lavishly theatrical celebration of the emotional and material extravagance that Fitzgerald surveyed with fascinated ambivalence.
  21. One Track Heart: The Story of Krishna Das
    One Track Heart is too hagiographic to dive into messy spots, where truth tends to live.
  22. Unmade in China
    Slack storytelling (including snippets from a post-film Q. and A. session) and patchy filmmaking seal the unappealing deal.
  23. Caroline and Jackie
    With low-key, almost guileless performances, the film demonstrates that no matter how intelligent, well thought out and potentially enlightened a current sociological method (e.g., the “loving intervention”) may be, people will always find a way to turn it into something ludicrous, aggressive or both.
  24. Turtle Hill, Brooklyn
    Turtle Hill is inconclusive from start to finish, and while that appears purposeful, it’s also pretty dull.
  25. Desperate Acts of Magic
    Despite the preachiness, however, they have still made a moderately enjoyable film, thanks to some engaging performances.
  26. The Happy House
    The film, a sleepy, low-budget affair, merely enacts a series of horror movie clichés, as if that were enough. Its bland actors and wit-free script do nothing with the familiar elements but present them.
  27. Scatter My Ashes at Bergdorf's
    [A] glossy, fawning valentine to conspicuous consumption.
  28. Dead Man's Burden
    The film’s small group of primary characters slips from joy to fury to murderous suspicion with faultless fluidity.
  29. Free the Mind
    Ms. Ambo communicates the notion of compassion and calm as something teachable, but perhaps feeling already convinced, she’s less ambitious as a filmmaker about taking her subject and her portraits to another level.
  30. Once Upon a Time in Brooklyn
    Pathetically inept.
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