The New York Times' Scores

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For 20,311 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: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
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  1. The We and the I
    To call this thrillingly original, deeply felt movie a coming-of-age story would be to insult it with cliché. It’s much more the story, or rather a series of interlocking, incomplete stories, about what it feels like to be a certain age and to feel caught, as the title suggests, between the desire to be yourself and the longing to fit in.
  2. Gut Renovation
    An alternate title for Gut Renovation, Su Friedrich’s cranky, sarcastic documentary polemic about the gentrification of a Brooklyn neighborhood, might be “The Rape of Williamsburg.”
  3. Day of the Falcon
    A far, far cry from “Lawrence of Arabia,” but it has its diversions.
  4. I, Me aur Main
    The most interesting thing to watch in I, Me aur Main, the directorial debut of Kapil Sharma (his father, Rakesh Sharma, was the first Indian in space), is the changing moral landscape.
  5. The Last Exorcism Part II
    At least this movie, like its predecessor, has Ashley Bell as Nell. An actress who suggests religious piety, carnal fire and satanic aggression with equal dexterity, Ms. Bell provides a pulse an audience can connect with amid the standard-issue atmospheric accouterments.
  6. 21 and Over
    The movie’s humor — at the expense of Asians, Latinas and even Serbs — comes off just as tone deaf and random as Seth MacFarlane’s Oscar-night shenanigans.
  7. Genius on Hold
    This promisingly tragic tale is sunk by cartloads of context and an overbearing, slanted narration.
  8. The Sweeney
    Simon Dennis’s photography is glossy and crisp, and a lengthy foot chase — making excellent use of the National Gallery — is inventively choreographed. And if the villains are little more than fireplugs in balaclavas, the violence they provoke is satisfyingly vicious.
  9. The Unspeakable Act
    Mr. Sallitt lays down a customarily restrained mode of acting (the kind that somehow seems less flat and more natural in French cinema), but it’s in the service of a rare lucidity about feeling.
  10. The End of Love
    Mr. Webber, a skilled actor, has not devised a narrative with sufficient momentum or tension to sustain much interest.
  11. A Place at the Table
    Though the directors, Kristi Jacobson and Lori Silverbush, smartly choose examples from among the working poor — reframing obesity as chronic malnourishment in areas where it’s easier to find a burger than a banana — they’re reluctant to get down in the political dirt.
  12. Here I Learned to Love
    While the film ends abruptly, leaving you to wonder about the rest of the brothers’ lives, those tales can’t have matched the ordeals of their start.
  13. The Battle of Pussy Willow Creek
    By the time the humor overreaches, escalating into the surreal, you’ve fallen under the movie’s spell. Audacity and invention more than compensate for the deficiencies. Who knows what Ms. Cohen will do next? But it should be interesting.
  14. A Fierce Green Fire
    This distillation of Philip Shabecoff’s book doesn’t really capture the urgency and militancy promised in the title.
  15. Hava Nagila: The Movie
    The interviews are mostly good and instructive, but the well-chosen historical footage is better.
  16. Phantom
    The dialogue is dreadful (though we are at least spared the usual hokey Russian accents) and the wrap-up ridiculous, the only mystery being why this peculiarity was ever greenlighted at all.
  17. Stoker
    The final act of Stoker walks a fine line between the sensational and the silly. Mr. Park is less interested in narrative suspense than in carefully orchestrated shocks and camouflaged motives.
  18. Pavilion
    Unguided by obvious story signposts, you slip from image to image, pulled along by their beauty (the digital cinematography is by Chris Dapkins) and by the dreamy, leisurely rhythms of the editing (by Seth Bomse).
  19. Welcome to Pine Hill
    [Mr. Miller's] film shows the influence of other recent work in the American neo-neo-realist vein, notably Ramin Bahrani’s “Goodbye, Solo” and Lance Hammer’s “Ballast,” and like them relies on understatement and indirection to arrive at a powerful and resonant meaning.
  20. Future Weather
    [A] tiny, beautifully acted movie.
  21. Molly's Theory of Relativity
    Molly’s Theory of Relativity is an intentionally uncomfortable movie to watch. The fifth feature from Jeff Lipsky, this eccentric, often high-pitched family comedy might be described as a surreal, post-Freudian gabfest.
  22. War Witch
    Superstition, witchcraft, exorcism, talismans that ward off evil: in this land of the supernatural, irrationality prevails. But War Witch is so cleareyed that it makes you wonder how much more irrational this world is than the so-called civilized one under its camouflage of material wealth.
  23. Leviathan
    Leviathan, a product of the Sensory Ethnography Lab at Harvard, offers not information but immersion: 90 minutes of wind, water, grinding machinery and piscine agony.
  24. The Condemned
    The Condemned is uncanny only in its resemblance to a television soap, with acting as flat as the lighting and scenes that end with the kind of cliffhanger moments that otherwise announce commercial breaks.
  25. Jack the Giant Slayer
    If it drifts with increasing frequency it’s because, well, this finally is just a digitally souped-up, one-dimensional take on Jack and the Beanstalk.
  26. Dark Skies
    Dark Skies certainly parades textbook genre trappings...But those elements are employed with consummate dexterity.
    • 93 Metascore
    • 90 Critic Score
    Tristana (re-release)
    Buñuel has made a marvelously complex, funny and vigorously moral movie that also is, to me, his most perfectly cast film. [21 Sept. 1970]
    • The New York Times
      • Posted Feb 21, 2013
  28. Red Flag
    If only Red Flag were funnier and tighter and had a sharper idea about what it means to blur the lines between self-interrogation and self-absorption. As it is, the movie throws off too few sparks.
  29. Rubberneck
    It’s dragged down by non-scene after non-scene, and filmmaking choices that don’t earn their keep.
  30. Stuck
    An unabashed sales pitch for international adoption, Thaddaeus Scheel’s Stuck aims for the heart much more than the mind.
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