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. Immigration Tango
    It's not outlandish enough to work as slapstick, not intelligent enough to make a comment on the fickleness of immigration policy.
  2. I Am Number Four
    Sluggish and derivative, I Am Number Four is another elaborate puberty metaphor with superpowers substituting for testosterone.
  3. We Are What We Are
    This ghastly scenario of poor preying on poor is, like the film's gray-green palette, profoundly depressing and entirely pitiless.
  4. Unknown
    Despite its A-movie aspirations, as the chases continue and the plot holes widen, Unknown quickly settles into the familiar B-movie comfort zone.
  5. Putty Hill
    Putty Hill doesn't strive for overt social commentary. It drops you into a world that the director, who grew up in the area, knows firsthand: a suburban fringe of stasis, downward mobility and lowered expectations.
  6. Even the Rain (Tambien la Lluvia)
    Splendidly panoramic. The scenes of Columbus's arrival and of his imperialist and religious sloganeering, and of the carnage he wreaks, have a grandeur and a force reminiscent of Terrence Malick films. The segments about the chaotic water riots have a documentary immediacy.
  7. The Last Lions
    A worthy, intensive labor of love that took years to shoot and edit, and it's also more gripping than a lot of recent Hollywood thrillers.
  8. Vanishing on 7th Street
    The story, which starts promisingly only to stop, restart, sputter and come to a wheezing, disappointing puff of nada, proves the least satisfying part of the whole. The finale certainly isn't earned, but all the nasty, tiny jolts throughout the movie do prick the skin nicely.
  9. Zero Bridge
    Handicapped by Mr. Tapa's sometimes sketchy screenplay and the limitations of his nonprofessional cast. (His clumsy staging of their dialogue scenes doesn't help.)
  10. Port of Memory
    The movie too often fails to reward the close watching it requires. While its stillness powerfully suggests stasis, its fragmentary approach doesn't achieve a cumulative power.
  11. The Sky Turns
    The overall effect is one of lulling beauty and immersion in the landscape and culture - certainly enough to carry you through the film - but also an irritating sensation of being led by the nose through Ms. Álvarez's highly aestheticized ruminations.
  12. Carbon Nation
    This film seems blissfully unaware that political obstructionists are paralyzing the legislative process; that deep-pocketed influence peddlers have a vested interest in maintaining the fossil fuel culture; that, in general, people resist change.
  13. Orgasm Inc.
    Explores the link between female sexuality and corporate profits with a style that's as entertaining as it is revelatory.
  14. Certifiably Jonathan
    Teeming with smart American humorists - and a passel of Arquettes - all unconditionally admiring. What's astonishing, then, is that not one of them stepped in to dissuade their friend from participating in such an embarrassingly awful project.
  15. Carancho
    At heart an unlovely love story illuminated by sudden flares of violence, the film reeks of hopelessness and moral destitution, offering its lovers few means of escape.
  16. Lovers of Hate
    Smartly written and flawlessly acted, Lovers of Hate is a Trojan horse, the kind of movie that begins so self-effacingly that we don't expect any surprises.
  17. Vidal Sassoon: The Movie
    Its upbeat tone, perky visual rhythm and sleek graphics capture the "swinging '60s" aesthetic epitomized by Mr. Sassoon's major invention: the geometric "five-point" haircut.
  18. Just Go with It
    There is some cheap homophobia at the end, and a lot of the kind of misogyny that treats the existence of nonthin, nonrich, nonwhite women as a joke in itself.
  19. Gnomeo and Juliet
    There is some fun to be found in this goofy riff on Shakespeare.
  20. Poetry
    The importance of seeing, seeing the world deeply, is at the heart of this quietly devastating, humanistic work from the South Korean filmmaker Lee Chang-dong.
  21. Justin Bieber: Never Say Never
    Everyone involved in "Never Say Never" is working overtime to prove that he is, as one of them puts it, "just a regular kid who had a dream," while everything about the movie screams the opposite.
  22. Cedar Rapids
    Tim isn't super anything (though he proves heroic), and what makes Cedar Rapids a low-wattage pleasure is its insistence that his ordinariness - with his decency and sense of wonder - is pretty extraordinary.
  23. The Eagle
    Lumbering along for a bit less than two hours, which passes like three, it feels more like a chore than like an adventure.
  24. The Roommate
    Substituting sex for suspense and pop music for ideas, the director Christian E. Christiansen drags The Roommate from limp beginning to lame conclusion.
  25. Home
    We've heard it all before, if not in the schoolmarmish tones of Glenn Close, whose patronizing narration ("The earth is a miracle") makes the film feel almost as long as the life of its subject.
  26. Dressed
    Even those viewers who share the film's conviction that preparing a collection for New York Fashion Week is inherently fascinating may lose interest long before the final frock is fitted.
  27. Sanctum
    The director Alister Grierson, not grasping that bad dialogue is sometimes best delivered quietly, encourages his actors to shout and thrash about, and so they do, like fish out of water and performers out of their depth.
  28. Waiting for Forever
    I felt tentative stirrings of admiration for an indie movie that so aggressively flouts the hard-shelled conventions of romantic comedy. But more often than not, I felt suffocated by the gaseous sentimentality and lightheadedness of a story that drops in subplots that it can't begin to develop.
  29. Cold Weather
    With no grand speeches or oversized gestures, Mr. Katz creates a specific world that gracefully enlarges with universal meaning.
  30. The Other Woman
    In spite of its air of seriousness and sophistication, The Other Woman feels oddly shapeless and pokey.
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