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. The Reluctant Fundamentalist
    By literalizing the idea of American military aggression and all that it implies Ms. Nair doesn’t just invest Mr. Hamid’s story with Hollywood-style beats, she also completely drains it of ambiguity.
  2. Mud
    Mr. Nichols’s screenplay is perhaps a little too heavily plotted, especially toward the end, when everything comes together neatly and noisily, but he more than compensates with graceful rhythm, an unfussy eye for natural beauty and a sure sense of character and place.
  3. Pain & Gain
    It all leaves you pondering whether you have just seen a monumentally stupid movie or a brilliant movie about the nature and consequences of stupidity.
  4. At Any Price
    If At Any Price overstates its points, they are still worth making. And the hot-wired performances by Mr. Quaid and Mr. Efron drive them home in a movie that sticks to your ribs and stays in your head.
  5. Oconomowoc
    Oconomowoc has one thing going for it: a running time of just 79 minutes, even if every one of them feels like an eternity.
  6. Love Sick Love
    Love Sick Love deteriorates into a series of pranks that are not funny enough to register as comedy or brutal enough to qualify as horror.
  7. The Lords of Salem
    Considerable care goes into establishing the premise, but the film eventually abandons psychological subtlety for hallucinatory garishness, which is too bad.
  8. Herman's House
    Although this documentary has a powerful political subtext, it is best described as a conceptual art piece about confinement, attached to a dual biography of the artist and the prisoner.
  9. Ain't in It for My Health: A Film About Levon Helm
    Less an archival clip job than a late-night jam session, it is informal and inviting.
  10. Oblivion
    Oblivion never transcends its inspirations to become anything other than a thin copy.
  11. In the House
    In the House weaves a pleasant and clever spell, manipulating the viewer much in the way that Claude plays with Germain.
  12. Deceptive Practices: The Mysteries and Mentors of Ricky Jay
    Unsurprisingly, Mr. Jay proves a hugely entertaining guide, and as generous about his professional inspirations as he is reticent about his own life.
  13. Un Flic (re-release)
    The forcefulness and mystery of Mr. Melville's direction often generate an urgency that keeps the film from feeling vague. [30 Nov. 1979]
  14. Scary Movie 5
    Marlon Wayans’s satire “A Haunted House” got to “Paranormal” first, and for a much smaller budget delivered bigger laughs.
  15. The Revolutionary
    It’s a remarkable story, even if The Revolutionary, a no-frills documentary drawn from five years of interviews, isn’t much of a movie.
  16. Paris-Manhattan
    Were it not for the charming Patrick Bruel as a no-nonsense security expert and Alice’s unlikely suitor, this spun-sugar concoction would be well nigh unwatchable.
  17. American Meat
    The film’s ending, introducing farmers whose lives (and weight) have been changed for the better, sounds enough like an infomercial to undermine the whole enterprise.
  18. This Ain't California
    Smartly incorporating Sasa Zivkovic’s sweet and simple animation, as well as an exhilarating, punk-infused soundtrack, Mr. Persiel extends the film’s appeal beyond hard-core skaters.
  19. Fists of Legend
    Shot with some wit and considerable speed, its short, sharp beatdowns are a refreshing change from the bloated action sequences favored by some of Mr. Kang’s genre contemporaries.
  20. It's a Disaster
    The movie lurches from the improbably silly to the drearily so, while the characters remain so emotionally and psychologically divorced from life that they might as well be zombies or sitcom stick figures.
  21. Arcadia
    Ms. Silver’s ability to translate the liminal into cinematic terms, to catch those moments between innocence and knowing, childhood and adulthood, unforgiving and forgiving, makes her someone to watch.
  22. Antiviral
    At a certain point, Antiviral doesn’t know where to go or how to break out of its vacuum-sealed sepulcher, and Syd, even when vomiting blood, remains as incorporeal and creepy as a ghost. This is a movie that drinks its own tainted blood.
  23. The Angels' Share
    Watching it is like receiving a hard slap in the face from someone who expects you to laugh it off, even though the sting lingers.
  24. 42
    It is blunt, simple and sentimental, using time-tested methods to teach a clear and rousing lesson.
  25. Disconnect
    The film ominously conveys a world of too much information but too little communication, where people have become slaves to glowing hand-held devices that were designed to make life easier but have made it busier and more complicated.
  26. To the Wonder
    The fine intentions of To the Wonder pave a road to puzzlement, not awe.
  27. The Brass Teapot
    The movie’s best bits lose out to the requisite moral turnaround.
  28. Eddie: The Sleepwalking Cannibal
    This witty first feature is a flawed but diverting meditation on finding inspiration while losing your soul.
  29. The Story of Luke
    When it works, the film serves as a modest reminder that the challenges of autism may sometimes be no more daunting or fearsome than those that face anyone in search of an independent life.
  30. Simon Killer
    Though the film’s ice-cold blend of the cerebral and the atavistic can be off-putting, it enables a queasy portrait of moral disengagement that lingers long after Simon has slipped from the screen.
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