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. Southwest (Sudoeste)
    Like a Bela Tarr film it leads you to consider the breadth of eternity, the limits of human consciousness and the possibility of reincarnation.
  2. Broken City
    Hughes visual choices can feel borrowed and clichéd, but his regard for beauty often compensates for his blunders, as does the sturdy, reliable appeal of another story of good and evil, men and women, light and dark, glass and steel, sex and power. As it turns out, there are eight million and one stories in the naked city.
  3. Matru ki Bijlee ka Mandola
    A mix of gently outraged populism and low-powered romantic comedy, Vishal Bhardwaj's Matru ki Bijlee ka Mandola might have been better with a chunk lopped off its two-and-a-half-hour runtime.
  4. A Haunted House
    If the opening gag in your R-rated movie is an extended flatulence joke you should reconsider whether you're qualified to make such a movie. Not that flatulence jokes aren't funny; 8-year-olds love them. The thing is, not many 8-year-olds go to R-rated movies.
  5. FrackNation
    More than anything, FrackNation underscores the sheer complexity of a process that offers a financial lifeline to struggling farmers.
  6. Welcome to the Machine
    A strain of quixotic eccentricity runs through the film's endeavor; Mr. Weider basically has more material than he can marshal. As the film goes on, its elements are overshadowed by a reliance on Mr. Kaczynski's writings, which are selectively quoted and blared on screen as if part of a PowerPoint presentation.
  7. My Best Enemy
    An awkward blend of anti-Semitic atrocities and identity-swapping absurdity, the World War II drama My Best Enemy struggles to find a convincing tone.
  8. Uprising (2013)
    A concise commemoration of a new society's birth pains.
  9. Let My People Go!
    Reuben is a whiny and uncoordinated prodigal son. His constant chafing at himself and the world is the film's biggest problem; by the midway point we're all wishing him back in Finland where he belongs.
  10. Clandestine Childhood
    When a filmmaker proves as reluctant as Mr. Ávila to speak up about the past, to engage with its full complexity, it can be hard to hear what he's saying.
  11. Struck by Lightning
    Except for Ms. Janney's monstrous mother and an Alzheimer's-afflicted grandmother (Polly Bergen), Struck by Lightning gives its characters no dimension.
  12. Fairhaven
    There isn't a dishonest moment in Fairhaven, Tom O'Brien's piercing, wistful portrait of three longtime buddies in their mid-30s who reunite around a funeral in a southeastern Massachusetts fishing community.
  13. The Baytown Outlaws
    The Baytown Outlaws" avidly subscribes to the grindhouse aesthetic of Quentin Tarantino and Robert Rodriguez. If it has the right spit-in-your-face attitude, it has neither the stamina nor the wit to go the distance, although it makes it about two-thirds of the way.
  14. Quartet
    A sincere but sloppy piece of work. Mr. Hoffman dotes on his cast of first-rate British actors of a certain age - and invites us to savor their energy and professionalism. This is not difficult, though the efforts of these fine actors might have yielded greater delight if they had been given more to do.
  15. Gangster Squad
    His (Fleischer) first feature, "Zombieland," was a half-witty genre parody. This one might be described as genre zombie-ism: the hysterical, brainless animation of dead clichés reduced to purposeless, compulsive killing. Too self-serious to succeed as pastiche, it has no reason for being beyond the parasitic urge to feed on the memories of other, better movies.
  16. High Tech, Low Life
    The result is a narrow, albeit intriguing window into a technological revolt that deserves a more far-reaching film than this one.
  17. Texas Chainsaw 3D
    Ms. Daddario is adequate, while Mr. Eastwood, as a lawman, strikes sinister notes. It's nice to see briefly Marilyn Burns, the record-holder in long-distance screaming in Tobe Hooper's original 1974 "Texas Chain Saw Massacre," and Gunnar Hansen, who played Leatherface in the same.
  18. 56 Up
    Life rushes by so fast, it flickers today and is gone tomorrow. In 56 Up - the latest installment in Michael Apted's remarkable documentary project that has followed a group of Britons since 1964, starting when they were 7 - entire lifetimes race by with a few edits.
  19. A Bottle in the Gaza Sea (Une bouteille à la mer)
    Fueled by neither anger nor religious extremism - the director, Thierry Binisti, remains rigidly nonpartisan - "Bottle" is a gentle pairing of youthful idealism and tenacious hope.
  20. My Brooklyn
    My Brooklyn, Kelly Anderson's sensitive study of gentrification in her home borough, is as much personal essay as urban-policy survey.
  21. Allegiance
    This well-acted debut feature from Michael Connors (a former Army captain) is too limited in ambition and scope to satisfy our expectations.
  22. Promised Land
    An earnest attempt, sometimes effective, sometimes clumsy, to dramatize the central arguments about fracking and its impact.
  23. West of Memphis
    The film is inspiring because it has a semi-happy ending attached to a love story.
  24. Tabu
    It is, of course, art rather than history - an elegant composition of dreams, memories and suggestive images - but its artfulness seems like an alibi, an excuse for keeping the ugliness of history out of the picture.
  25. Parental Guidance
    It could be worse, and would be without Bette Midler or Marisa Tomei.
  26. Django Unchained
    Like "Inglourious Basterds," Django Unchained is crazily entertaining, brazenly irresponsible and also ethically serious in a way that is entirely consistent with its playfulness.
  27. Les Miserables
    Song after song, as relationships and rebellion bloom, you wait in vain for the movie to, as well, and for the filmmaking to rise to the occasion of both its source material and its hard-working performers.
  28. The Impossible
    There is a troubling complacency and a lack of compassion in The Impossible, which is less an examination of mass destruction than the tale of a spoiled holiday.
  29. Not Fade Away
    By focusing on musicians who are talented but finally not good or persistent enough to succeed in the big time, Not Fade Away offers a poignant, alternative, antiheroic history of the big beat.
  30. On the Road
    It all seems - dare I say it? - of little consequence.
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