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 Cold Light of Day
    A catastrophe worth noting only for the presence of its name cast.
  2. [REC] 3: Genesis
    With slapstick smothering the scares, [REC 3] is further marred by a plot in which the muted Catholicism of its antecedents is turned up to full blast.
  3. Beauty Is Embarrassing
    The creativity grows like kudzu in Beauty Is Embarrassing, Neil Berkeley's enlightening and often hilarious portrait of the Los Angeles artist Wayne White. And it yields a thousand blossoms.
  4. Hello I Must Be Going
    This is ultimately a tale of affirmation, self-acceptance and second chances, and its lessons, while not unwelcome, are a bit too forced and neatly packaged to make it fully satisfying.
  5. The Inbetweeners Movie
    The movie is apparently the most popular British comedy in history. I guarantee that its success has nothing to do with the quality of the actual movie.
  6. The Eye of the Storm
    Whether she's lying in bed, her gray hair spilling out around her head, or exalting in existence itself during one of several flashbacks, Elizabeth draws you in, which works for the story and simultaneously unbalances it.
  7. Toys in the Attic
    The movie should be manna for anyone who likes animated fantasias without wisecracks, commercials and overwrought warbling about self-actualization, meaning that it's suitable for those who will grow up either to be the next Tim Burton or simply to enjoy his movies.
  8. Keep the Lights On
    Its subject is not addiction or ambition, or even love in a conventional romantic sense, but rather the more elusive and intriguing matter of intimacy: how it grows, falters and endures over time.
  9. Bachelorette
    Bachelorette is more tartly written, better acted and less forgiving than male-centric equivalents like the "Hangover" movies.
  10. The Words
    A clever, entertaining yarn that doesn't bear close scrutiny.
  11. Hollywood to Dollywood
    The optimism and good humor of John Lavin's crude, endearing documentary Hollywood to Dollywood are so unquenchable that its disturbing underlying theme - growing up gay in the South is no picnic - is partly obscured by its openheartedness.
  12. For Ellen
    Rather than finding an interesting, resonant ambiguity in his experience, Ms. Kim and Mr. Dano settle for a kind of suggestive vagueness, losing the thread of their character in the snow, steam and cigarette smoke that provide the film's main visual motif and perhaps also its dominant metaphor.
  13. Girl Model
    That stink, like iffy contracts and child labor laws, remains unexplored. Filled with blind eyes and unspoken agreements, Girl Model opens a can of worms, then disdains to follow their slimy trails.
  14. The Tall Man
    Ultimately his story draws more energy from class than from criminality: awash in sludgy browns and rotting greens - the colors of poverty and decomposition - this unpredictable oddity is a little bonkers but a lot original.
  15. The Possession
    Even if you resist the film's claims of being based on one family's actual experiences, The Possession is eerily enjoyable pulp. Perched somewhere between "The Exorcist" and "The Amityville Horror" - and with a dash of "The Unborn" - the story benefits from an unusually restrained sound design and special effects that enhance but never obliterate its troubled-family center.
  16. The Good Doctor
    Ultimately, even after momentarily falling apart in a fit of paranoia, Martin remains a cipher in a movie that never fulfills its potential as melodrama. If The Good Doctor isn't a bad movie, it tells only half the story.
  17. The Flying Swords of Dragon Gate
    Surprisingly old-fashioned. It seems to be having an argument with itself: the dazzling but often antiseptic immersiveness of the viewing experience is countered by storytelling suffused with nostalgia for a simpler, messier, livelier period in Chinese film.
  18. Breathing
    As a collaboration Breathing owes much to the balanced compositions, lucid imagery and judicious use of color executed by Mr. Gschlacht, who brought a similarly clear gaze to morally fraught work by other Austrian directors (Götz Spielmann's "Revanche," Jessica Hausner's "Lourdes," Michael Glawogger's "Slumming").
  19. For a Good Time, Call...
    Doesn't aspire to be more than a broad, sloppy, old-fashioned sitcom with a sexy gimmick. But it is quite funny.
  20. Side by Side
    For a film geek this movie is absolute heaven, a dream symposium in which directors, cinematographers, editors and a few actors gather to opine on the details of their craft. It is worth a year of film school and at least 1,000 hours of DVD bonus commentary.
  21. The Day
    The Day cycles through bursts of horrific violence only to end much as it begins: static, hollow and vague.
  22. The Oogieloves in the Big Balloon Adventure
    Hallie's dad said it was Rocky Horror for toddlers whatever that is. Me and Hallie are 7 and we thought it was for babies.
  23. Little Birds
    I don't think Mr. James intended to make a creepy, exploitative movie about teenage runaways - or, for that matter, a moralistic, cautionary tale of girls gone bad. But those are the default categories that Little Birds stumbles toward, perhaps because the filmmaker has not found a cogent way to channel his curiosity or his empathy.
  24. The Ambassador
    Mr. Brugger's portrait of shameless, routine collusion between exploitative foreigners and dysfunctional dictatorships is depressing and undeniable. Unless, that is, The Ambassador is even more of a hoax than it seems to be. This strikes me as plausible, since somebody having this much fun in such proximity to horror may not be completely trustworthy.
  25. Lawless
    There are too many action-movie clichés without enough dramatic purpose, and interesting themes and anecdotes are scattered around without being fully explored. This is weak and cloudy moonshine: it doesn't burn or intoxicate.
  26. The Apparition
    At one point Ben helpfully looks under the house to see what might be causing the ruckus. "Watch out for spiders!" Kelly says. Actually, Ben - and the filmmakers - have a lot more to worry about.
  27. Wild Horse, Wild Ride
    The first interactions between human and animal are fascinating, as the trainers often apply different approaches. As the horses learn to trust their trainers, connections grow into deep bonds.
  28. General Education
    Among the problems with the humorless comedy General Education is that the lead character's sister is more interesting than he is, and she spends much of her screen time as a mute mime.
  29. Knight Knight
    This comedy, the first feature by Ms. Bucher, suffers from technical limitations, perhaps imposed by a tough nine-day shooting schedule. The recording sounds muted; the whimsical musical score oversells the jokes; and the lackluster visuals fail to match the pungency of the language.
  30. The Victim
    Told with multiple flashbacks and minimal taste, this exuberantly scuzzy thriller - shot in less than two weeks with a budget as micro as the women's skirts - pits sleazy cops against fun-loving disrobers in the middle of scraggly foliage.
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