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. Northeast
    Northeast is as tedious as the life of the film’s central character.
  2. Kai po che!
    Ambitious but uneven, Kai Po Che (based on Chetan Bhagat’s novel “The Three Mistakes of My Life”) mixes, not quite successfully, traditional Bollywood storytelling with something less conventional.
  3. Inescapable
    Plagued by clunky action sequences and a porous plot the cast visibly wilts.
  4. 11 Flowers
    Delicate and autobiographical (Wang Han was the director’s name when he was a child, and the story is constructed from his boyhood memories), 11 Flowers clings steadfastly to its youthful point of view.
  5. Snitch
    For all its violence and road rage, Snitch doesn’t disintegrate into noisy popcorn nonsense.
  6. One Life
    The latest production from the BBC Natural History Unit is a typically eye-catching, years-in-the-making chronicle of animal life that is tainted by the urge to anthropomorphize.
  7. Murder 3
    Murder 3 progresses in skeletal fashion, its story laid out brief chunk by brief chunk amid bass-heavy dance beats, other music that telegraphs suspense, or, least objectionable, ponderous quiet.
  8. Escape from Planet Earth
    Escape From Planet Earth makes a tolerable diversion for a winter’s day or evening, just not a memorable one.
  9. The Berlin File
    As soon as The Berlin File takes flight with its exhilarating action set pieces, memories of any muddles evaporate amid the tension and vivid engagement with settings, from courtyards to fields.
  10. Almost in Love
    The actors manage to just sidestep the chummy, self-congratulatory air of showbiz insiders, leaving viewers the pleasure of savoring their invention. No glib answers are offered, but the search proves rewarding.
  11. Saving Lincoln
    The whole affair has an artificial look reminiscent of a community theater production on a cardboard set. The vintage images don’t add enough to make up for the visual distraction. The story, though, is of moderate interest.
  12. The Jeffrey Dahmer Files
    If the film’s spare re-enactments are a little awkward, they also smartly repurpose Dahmer’s studied reserve into a meditation on perversion as hypnotic as it is repulsive.
  13. Shanghai Calling
    Though Mr. Hsia, a television alumnus who also wrote the script, has created a somewhat predictable story infused with stereotypes old and new, he gains mileage from light humor, buoyant energy and some appealing performers.
  14. Like Someone in Love
    Every shot — everything you see, and everything you don’t — imparts a disturbing and thrilling sense of discovery.
  15. Safe Haven
    The weakest parts of Safe Haven are its action sequences, in which the illusion of reality is shattered by ham-handed editing, garish special effects and comic-book dialogue.
  16. Beautiful Creatures
    There’s not much new under the moon here, which makes what the writer and director Richard LaGravenese does with the story all the more notable.
  17. A Good Day to Die Hard
    Everything that made the first “Die Hard” memorable — the nuances of character, the political subtext, the cowboy wit — has been dumbed down or scrubbed away entirely.
  18. Lost in Thailand
    Like many broad successes this unremarkable movie proves decidedly reluctant to yield any golden secret to box-office bonanzas, unless you count tried-and-true chase formulas and a moral about rethinking priorities.
  19. Would You Rather
    By the midway point, viewers will be questioning whether they would rather remain in their seats or put their eyes out with a fork.
  20. Porfirio
    Vividly depicting the indignities of the flesh, Porfirio offers a harshly sensual portrait of a man imprisoned by paralysis and the callousness of the state.
  21. A Rubberband Is an Unlikely Instrument
    Gliding from intimate to surreal, from aurally disjunctive to visually seductive, Rubberband is a languorous ballad of sadness and disappointment.
  22. Ferlinghetti: A Rebirth of Wonder
    As big a bouquet as the film is to Mr. Ferlinghetti, it is also a mash note to City Lights, a cultural touchstone and North Beach landmark.
  23. A Glimpse Inside the Mind of Charles Swan III
    For all its visual pizazz A Glimpse Inside the Mind of Charles Swan III has the jerky momentum of a collection of disconnected skits loosely thrown together with only the vaguest notion of where it’s heading or what it all means. At best it is a mildly diverting goof with a charmless lead performance. Its underlying misogyny leaves a sour taste.
  24. Night Across the Street
    Unlike his precursors Georges Franju and Luis Buñuel, who reveled in the shock of incongruity, Mr. Ruiz took it in stride. His gliding, floating camera could make wild impossibilities look utterly natural. And so it is in Night Across the Street, where the present commingles with the past, and seeming is another way of being.
  25. As Luck Would Have It
    A toothless examination of marketing and morality, Álex de la Iglesia’s As Luck Would Have It combines lecture, farce and soapy sentiment in a single misshapen package.
  26. The Playroom
    The Playroom captures the malaise of mid-’70s suburbia with a merciless accuracy not seen since Ang Lee’s 1997 film, “The Ice Storm.”
  27. Lore
    The film sustains an air of overarching mystery in which the viewer, like the title character, is in the position of a sheltered child plunked into an alien environment and required to fend for herself without a map or compass.
  28. Identity Thief
    As is the case with other unsatisfactory diversions, it is entirely possible to ignore the worst parts of this movie, to drift along during the lulls, slide over the half-baked jokes and just wait for Ms. McCarthy and Mr. Bateman to do their things.
  29. Side Effects
    While the plot may be predictable (and more than a little preposterous) in retrospect, Mr. Soderbergh handles it brilliantly, serving notice once again that he is a crackerjack genre technician.
  30. No
    Marshall McLuhan called advertising the greatest art form of the 20th century. In No, Pablo Larraín’s sly, smart, fictionalized tale about the art of the sell during a fraught period in Chilean history, advertising isn’t only an art; it’s also a way of life.
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