The New York Times' Scores

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For 20,312 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: 9,400 out of 20312
  2. Mixed: 8,446 out of 20312
  3. Negative: 2,466 out of 20312
20312 movie reviews
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  1. The Devil's Double
    As the film moves through his world of blood and sex and curdled machismo, The Devil's Double inhales some of his toxic, shallow energy. At times you feel as if you were stuck in "Grand Theft Auto: Baghdad City," which, while entertaining enough, can also become a bit wearying.
  2. Crazy, Stupid, Love
    The movie, true to its own PG-13 rating, opts for mildness, modesty and chastened optimism. At the same time, though, it seems to know that a crueler, more cynical rendering of its story - a "Bitter, Hopeless, Love" - lurks between the lines.
  3. True Adolescents
    True Adolescents, like most indie movies related to the mumblecore school, is a delicate piece of machinery. Its truth lies in the tiniest details: the pauses, the stricken looks, the false bravado, the pathetically redundant slang (so many "dudes").
  4. The Interrupters
    The stories in The Interrupters, a hard wallop of a documentary, may weigh heavily on your heart and head, but they will also probably infuriate you.
  5. The Future
    The magical, metaphorical strain in The Future is what makes it powerful, unsettling and strange, as well as charming. The everyday fears and frustrations that shadow us on our awkward trip through the life cycle often feel enormous, even cosmic, and Ms. July has the audacity to find images and situations that give form to those metaphysical inklings.
  6. Cowboys & Aliens
    Favreau wavers uncertainly between goofy pastiche and seriousness in a movie that wastes its title and misses the opportunity to play with, you know, ideas about the western and science-fiction horror.
  7. El Bulli: Cooking in Progress
    Anyone looking for the lowdown on haute cuisine will be sorely disappointed: devoid of emotion, context or narrative, the baffling avant-garde techniques and extreme politesse of the lab become oppressively dull.
  8. Singham
    More and more, Bollywood movies are urban tales for urban audiences. What feels most backward-glancing about Singham is its uncomplicated, even cartoonish insistence on the benefits of village soil over city dirt for cultivating bedrock Indian values.
  9. Fire in Babylon
    It all adds up to an entertaining 88 minutes, despite the film's ramshackle construction and its once-over-lightly approach to political, cultural and athletic history.
  10. A Little Help
    Though the enjoyable prickliness of the film's early scenes soon dissolves into cozy solutions, a sturdy supporting cast - even Ron Leibman's scenery-chewing turn as Laura's blowhard father is more amusing than annoying - balances the scales.
  11. Another Earth
    A coming-of-adulthood story that improbably blends a plaintive drama with romantic longing and far-out science fiction.
  12. Autoerotic
    Its tone is quietly comical, with each chapter treated as an extended joke, or as an R-rated O. Henry story angling toward a neat concluding twist.
  13. Sarah's Key
    Undone by its very premise: that the two stories it tells can coexist in the same film.
  14. The Myth of the American Sleepover
    What Mr. Mitchell gets splendidly right in this quiet, observant film, is the unsteady mixture of sophistication and naïveté that is central to the modern American teenage way of being in the world.
  15. Captain America: The First Avenger
    Has a winningly pulpy, jaunty, earnest spirit.
  16. Friends with Benefits
    The results are about as naughty as that sounds (not very), but it also makes for a fairly giggling good time.
  17. The Woman with the 5 Elephants
    It's an interesting story, well told, though Mr. Jendreyko overworks some documentary fallbacks: gnarled fingers, the view from a moving train.
  18. Impolex
    Mr. Perry, a New York University graduate whose second feature, "The Color Wheel," provoked passion and puzzlement at several festivals, has a natural eye, an offbeat sense of rhythm and no great interest in conventional storytelling. This is both intriguing and a bit tiresome, as Tyrone stumbles and mumbles his way through a series of inscrutable encounters.
  19. Hood to Coast
    Christoph Baaden, the director, loses sight of the fact that, for people who don't run, the cult of running is kind of boring.
  20. Girlfriend
    The overall mildness and inconsequence of Girlfriend is disrupted for a while by Amanda Plummer, who gives a vivid yet gentle performance in a small part as Evan's patient, protective mother.
  21. The Tree
    The movie is truly a tree-hugger's delight (I confess to being one such hugger) that makes the most of its metaphors without straining toward supernatural schmaltz.
  22. Lucky
    Pitching uncertainly between cute and creepy, engaging and weird, this farcical story draws energy from a wickedly eccentric Ann-Margret, having a high old time as Ben's doting mother.
  23. Daylight
    Not one for climactic endings or predictable histrionics, the director, David Barker (who wrote the script with Ms. Meierhans and Mr. Godere), sticks to the stylistic template of his debut feature, "Afraid of Everything," which was filmed in 1999. Preferring the tease over the tell, his films coax us into looking beneath the surface. What we find is mostly up to us.
  24. The Chameleon
    Ms. Barkin is almost unrecognizable as this bedraggled bundle of rage and disappointment. Exploding from deep within, her devastating performance hijacks the film.
  25. Winnie the Pooh
    It is comfortable with itself and confident in its ability to amuse and beguile young viewers.
  26. Tabloid
    The sheer heterogeneity of human experience is one of his (Morris) enduring preoccupations, and he has found, once again, an impossible and perfect embodiment of just how curious our species can be.
  27. Snow Flower and the Secret Fan
    There are enough decent moments in "Snow Flower" that you can at times see the remains of a better movie amid the jolting transitions between past and present, but these eras never really speak to each other, much less to you.
  28. Life, Above All
    A grave and quietly moving story about a South African girl of extraordinary character, does something that few painful dramas accomplish: It tells a tale of resilience without platitudes about the triumph of the human spirit or without false promises about an unclouded future.
  29. Salvation Boulevard
    As the plot swerves toward an almost crazy conclusion, there is the inkling of a strong, interesting idea here, about how some versions of modern religion are predicated on the systematic denial of reality, but Salvation Boulevard is itself too loosely tethered to the actual world to make the point with the necessary vigor or acuity.
  30. Harry Potter and the Deathly Hallows: Part 2
    Childhood ends, this time forever, with tears and howls, swirls of smoke, the shock of mortality and bittersweet smiles in Harry Potter and the Deathly Hallows: Part 2, the grave, deeply satisfying final movie in the series.
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