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. Indie Game: The Movie
    Along the way comes a bracing, honest confession about these interactive creations, voiced by one designer but no doubt applying to many more makers of all kinds: "I made it for myself."
  2. Lovely Molly
    Generating suspense without blowing the special-effects budget, Mr. Sanchez paints an intimate portrait of a tormented personality. Though horrors are eventually unveiled, the film is more chilling in its slower, quieter moments.
  3. The Samaritan
    His (Jackson) doleful revenant is in almost every scene, and this hardworking actor seems to know that the film around him should be a light-footed caper instead of a grim noir with a side order of deviance.
  4. Quill: The Life of a Guide Dog
    Therein lies the essence of this simple, bluntly effective movie. Its principal selling point - the supreme watchability of dogs, especially working dogs - is undeniably powerful.
  5. Mansome
    Mr. Spurlock's film already feels a few years late to the discussion of an easily mockable subject, but it is a dud as a diversion.
  6. American Animal
    It's showtime!" says Jimmy, the one-man band of American Animal. And for Matt D'Elia, who plays him in this hour and a half of pretentious mind games, it certainly is. There are other players, but it's all about Jimmy, portrayed with a free-associative, Jim Carrey-like mania.
  7. Virginia
    Virginia is a wildly unpredictable piece of work. Playing the kind of role that is often associated with Laura Dern, Ms. Connelly gives a brave, full-tilt performance that is true to the character but can't hold the movie together.
  8. Hysteria
    Silly, featherweight comedy.
  9. The Color Wheel
    A singularly unpleasant movie: full of obnoxious characters in scenes that seem overwritten and under-rehearsed, oblivious to the most basic standards of tonal consistency, narrative coherence or visual decorum. But it is also sly, daring, genuinely original and at times perversely brilliant.
  10. Polisse
    The messiness of the film seems appropriate to its subject, which is the attempt to bring at least a measure of order - and even a touch of grace - to a chaotic and frequently ugly reality.
  11. Battleship
    Has a plot as unambitious as a macaroni dinner, familiar and easy to eat and not particularly nutritious.
  12. What to Expect When You're Expecting
    The overall mood is of warm reassurance, and some of it is even pretty funny.
  13. Detachment
    The shriller its didacticism, the more unhinged it becomes. But even at its most ludicrous - when it is shouting into your ear - its sheer audacity grabs your attention.
  14. Elena
    Post-Soviet Russia in Andrei Zvyagintsev's somber, gripping film Elena is a moral vacuum where money rules, the haves are contemptuous of the have-nots, and class resentment simmers. The movie, which shuttles between the center of Moscow and its outskirts, is grim enough to suggest that even if you were rich, you wouldn't want to live there.
  15. The Dictator
    That potential is mostly squandered in The Dictator, which gestures halfheartedly toward topicality and, with equal lack of conviction, toward pure, anarchic silliness.
  16. You Are Here
    Moments of insight flare like fireflies and disappear, whether from underfinancing or overambition is unclear. Either way, this maddening mind game is likely to be more enthusiastically received in philosophy classrooms than in the multiplex.
  17. Small, Beautifully Moving Parts
    The best thing about Small, Beautifully Moving Parts is its admission that a positive pregnancy test is not always cause for giddy celebration; the worst thing is that, even at a lean 73 minutes, this flimsy road movie feels at least 43 minutes too long.
  18. The Observers
    Solitude is a character, so much so that, 25 minutes in, when the first human voice is heard, it feels like an intrusion. And when the weather warms enough for tourists to make the trek up to the observatory, they register not as a welcome relief from loneliness but as annoyances.
  19. Hick
    Ms. Portes's script strains credulity, and it's not helped by Mr. Martini, who can't find the right tone.
  20. Portrait of Wally
    The film's single-minded treatment puts property issues over other nuances of the affair, not least the art itself and the artist. A brief postscript about the early deaths of Schiele and his pregnant wife feels uncomfortably like an afterthought.
  21. Sleepless Night
    Hectic and harebrained, this galloping French thriller tosses a potpourri of plot points - crooked cops, sleazy gangsters, stolen drugs and an underage hostage - into a packed-to-the-gills nightclub, and stirs. Repeatedly.
  22. Nesting
    Aging Gen-Xers, it turns out, aren't all that witty, and Ms. Hillis and Mr. Grinnell don't have the kind of chemistry that might make this setup work.
  23. A Bag of Hammers
    Any film tossing comic interludes among its closing credits has to be convinced of their hilarity and of the good will the movie has earned with viewers by then. Perhaps the film's naked traffic in sentiment up to that point made Mr. Crano so bold. Whatever; his confidence was unwarranted.
  24. Patience (After Sebald)
    If he is a self-revealing writer, it is not in the usual, confessional sense, but rather because he seems so strongly present in his books, with a personality that is both the source and aftereffect of the prose.
  25. The Road
    The dead are unquiet and the living are terrified in The Road, a powerfully atmospheric blend of ghostly encounters, horrific situations and missing-persons mysteries from the Philippine director Yam Laranas.
  26. Where Do We Go Now?
    At heart, this jolly, galumphing crowd-pleaser, which won the audience award at last year's Toronto International Film Festival, is a raucous sitcom about scrappy little boys whose canny mamas conspire to keep them out of trouble.
  27. Nobody Else But You (Poupoupidou)
    If Nobody Else but You is smart and entertaining, it is a little too clever for its own good.
  28. Bonsái
    There's nothing obscure about young love and loss, and a story, as Mr. Jiménez put it, about "youngsters who have to deal with this sudden lack of certainties which makes them more lonely than they could have ever imagined."
  29. Under African Skies
    The film skillfully interweaves several strands to tell a true story with a happy ending.
  30. Tonight You're Mine
    The look, the rhythm and the scruffy, on-the-fly ambience of the film make it feel unusually fresh and lively. It may be the same old song, but it's also a catchy remix.
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