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. Late Bloomers
    As more characters, including the couple's three children - enter the picture, Late Bloomers loses its narrative thread and becomes so choppy that you have the sense that it was butchered during the editing process. What remains is the skeleton of a story that leads to an abrupt, icky-cute ending.
  2. Hit So Hard
    Hit So Hard is the touching story of how and why Ms. Schemel ended up in her own private hell and how and why she made her way out again into the world of sunshine, sobriety and puppy dogs.
  3. Here
    Here, to its detriment, never builds its ideas into a cohesive vision. The screenplay by Mr. King and Dani Valent too often wanders off into poetic vagueness. But visually, Here, filmed by Lol Crowley, is still a stunner. Flawed as it is, I admire it immensely.
  4. Monsieur Lazhar
    Like no other film about middle school life that I can recall Monsieur Lazhar conveys the intensity and the fragility of these classroom bonds and the mutual trust they require.
  5. Comic-Con Episode IV: A Fan's Hope
    The film is well organized and visually snazzy and keeps enough distance from its subject that you don't feel swamped in a tide of hysterical fandom.
  6. Lockout
    Lockout, is as dopey an entertainment as imaginable, but it's also a reminder that the film's star, Guy Pearce, has always had great screen magnetism, to which he has now added a bedrock of muscle. Also: he can act.
  7. The Cabin in the Woods
    Novelty and genre traditionalism often fight to a draw. Too much overt cleverness has a way of spoiling dumb, reliable thrills. And despite the evident ingenuity and strenuous labor that went into it, The Cabin in the Woods does not quite work.
  8. The Three Stooges
    Peter and Bobby Farrelly's thoroughly enjoyable paean to Moe, Larry and Curly and the art of the eye poke.
  9. The Lady
    Paralyzes history and human drama with relentless hagiography.
  10. Post Mortem
    The sweep and energy of historical drama are notably missing from this grim, intense, mordantly comic little film.
  11. MIS Human Secret Weapon
    The execution is a bit clumsy, but the documentary MIS: Human Secret Weapon shines a light on an interesting bit of World War II history.
  12. We the Party
    Other Van Peebleses also populate the movie, and all are serviceable enough as actors; it would be nice to see them in less earnest, more original material.
  13. Player Hating: A Love Story
    A sad chronicle of absent fathers and messed-up mothers, drugs as currency and violence as the period at the end of every argument.
  14. The Assault
    In place of emotional stakes, we get gleaming, stylized, occasionally slow-motion violence, filmed in such extreme close-ups and cramped spaces that it's impossible to differentiate gunman and victim.
  15. We Have a Pope
    Mr. Moretti finds broad comedy in the antics of some clerics, who can seem as sweet as children, but in Melville there is pathos and there is tragedy, and not his alone.
  16. ATM
    Mr. Brooks capitalizes on antiseptic, fluorescent interiors, while the score, by David Buckley, nicely accents stress points.
  17. Keyhole
    To a die-hard Maddinite this may be a little disappointing, but for that reason Keyhole may also be a perfect gateway into the bizarre and fertile world of a unique film artist.
  18. Surviving Progress
    Like too many short documentaries, it can't do justice to its complex topic or finally to those of us watching. Because, while Surviving Progress puts forth a lot of general advice (stop the deforestation of the Amazon), it offers little in terms of real, practical, graspable solutions. People need hope; moviegoers do too.
  19. The Hunter
    The Hunter never declares who is good or bad or right or wrong. And the implications of Martin's decision when the moment of truth finally arrives are left for the viewer to unravel.
  20. Damsels in Distress
    Even if it did not have other charms, this peculiar, uneven campus comedy would be worth seeing for the delightful felicity of its dialogue.
  21. American Reunion
    Remember "American Pie"? If you do, this movie is redundant and sad. If you don't, it's irrelevant.
  22. Tatsumi
    It's potent stuff, delving into pornography, incest, murder and mutilation in the company of alienated men and unhappy, sometimes cruel women.
  23. Scenes of a Crime
    This smart, cool-headed film, which has a "Rashomon"-like vision of the case, presents a disturbing picture of courtroom justice and how different people come to opposite conclusions, based on the same testimony.
  24. Womb
    If the 20-odd seconds of blank screen squatting pointlessly amid the opening credits aren't enough warning that you're in for some seriously sluggish storytelling, then the adoption of a snail as one of the central motifs should drive the point home.
  25. Artificial Paradises
    When a small drama sputters to life at the end, it's too late. You've already been lulled into dreamland.
  26. Love in the Buff
    There's charm aplenty in Pang Ho-Cheung's Love in the Buff, a romantic comedy that is as interesting for its glimpse into contemporary urban China as it is for the charisma of its leads.
  27. God Save My Shoes
    The film takes 70 minutes and a lot of silly chatter to conclude what every woman well knows: wearing hooker heels will have most men eating out of her hand. Or, if she's lucky, licking her aching feet.
  28. The Beat Hotel
    The arts documentarian Alan Govenar takes his turn at burnishing the legend with The Beat Hotel, a mild-mannered primer centered on the cheapo Paris boardinghouse.
  29. Turn Me On, Dammit!
    With its soft, bleached images and occasional detours into black-and-white stills, Turn Me On, set in an unspecified recent past, has a gentle oddness as unforced as its performances and as inoffensive as its dialogue.
  30. Wrath of the Titans
    At least it doesn't take itself too seriously. There are also soldiers, fireballs, smoke and sand. But not much to think about when the dust clears.
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