The New York Times' Scores

For 11,987 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Dirties
Lowest review score: 0 Art History
Score distribution:
11987 movie reviews
  1. A competent, unpretentious entertainment destined to fill the after-school slot at shopping mall theaters across the country.
  2. In Ms. Smith’s tough, levelheaded performance, Mary is an irascible termagant full of batty notions clutching on to life as best she can. She is hard to like, and that’s good.
  3. A disjointed, sometimes fascinating mélange of moods, associations and effects.
  4. Marvin, Seth and Stanley aims to be a deadpan travels-with-my-wacky-dad story, but the father in it is almost an afterthought. It still has sublime moments, but it leaves you wanting more of them.
  5. “Free China” is not news, and, however moving, it’s really not art. It’s advocacy. In that aim, it is ardently committed.
  6. There is both too much story and not enough. The contours of this desolate future are lightly sketched rather than fully explained, which is always a good choice. But that minimalism serves as an excuse for an irritating lack of narrative clarity, so that much of what happens seems arbitrary rather than haunting.
  7. Mr. Hardy, however, would rather busy himself with reminders of earlier creature features.... Luckily, John Nolan’s old-school effects are wicked good, and Martijn van Broekhuizen’s mossy photography is pleasingly sinister.
  8. This loose-jointed ensemble comedy is funny in a squirm-inducing way.
  9. Battling a preposterous plot and second-tier performances that are, at best, serviceable, this roll-along thriller from Scott Mann works its keister off to turn beef jerky into chateaubriand.
  10. Mr. Zizek’s daisy-chained improvisations amount to an argument on behalf of complexity and unseen depths, and, like much academic writing, it risks monotony and becoming as reductive as it can be seductive.
  11. At the very least, the documentary What Would Jesus Buy? might make a viewer think twice about that next purchase at the Gap.
  12. The movie can -- indeed, should -- be intellectually rejected, but you can't quite banish it from your mind.
  13. Ms. Roth's radiance and understanding of Lucía's emotional life gives this film a touch of necessary psychological accessibility.
  14. A nondramatic work best appreciated as a pure image-and-sound event.
  15. Mr. Ramses’s admirable eagerness to tell a good tale seems to have favored excitement over facts.
  16. Lan Yu is like a less dizzily gorgeous companion to Mr. Wong's "In the Mood for Love" -- very much a Hong Kong movie despite its mainland setting.
  17. You can feel this niche-marketed tweener fantasy of athletic glory frantically trying to balance a decent sense of values against a market-savvy awareness.
  18. As directed by Henry Barrial, there is solid ensemble acting, particularly by Mr. Bonilla, who dependably anchors a movie that is almost too busy.
  19. This sly documentary rises above its speculative hook by shifting to show the very human, and very mortal, sides of these would-be warriors of eternity.
  20. This small, observant movie, directed and written by Kerem Sanga, is the better for not going in predictable directions. A story that you half-expect to turn into a melodrama stays true to the sensibilities of its immature, painfully sincere characters, who are faced with life-changing decisions.
  21. The Second Mother goes soft toward the end, defusing its conflicts too easily and inconsequentially.
  22. The movie is so small and emotionally constricted that it gives Hoffman too little room to explore his range.
  23. A tale of negligent homicide, class warfare, vengeance, jealousy and murder, Stephen King's Thinner has the outlines of Shakespearean tragedy and the intellectual content of a jack o'lantern. But as such ventures go, this Halloween handout is more treat than trick, if your tastes run to dripping blood and repellent skin ailments. The production is slick, the Maine scenery is bracing, the characters are well-acted, and in a mumbo-jumbo movie with a few loose ends, the makeup central to the plot and applied by Greg Cannom and Bob Laden to Robert John Burke in the leading role is most admirable.
  24. Neither the screenplay nor the direction has the requisite depth to turn the banality of one unremarkable life into the stuff of Chekhov, much less of Mr. Payne.
  25. The script, by Ms. Stephens and Joel Viertel, though lurching at times into overstatement, is enhanced with worthy if fleeting performances from John Cho and Christopher McDonald as Sam’s colleagues. Ray Winstone, as a journalist, effectively melds sleaze and compassion.
  26. Mr. Ristovski's story (written with Grace Lea Troje) feels a bit underdeveloped, partly because he uses too many lingering, silent shots of Marko and doesn't give the boy much of a voice.
  27. The tick tick tock of the mortal clock gives the science-fiction thriller In Time its slick, sweet premise.
  28. Refreshingly unpredictable but also frustrating.
  29. This affectionate documentary is more of a bonbon for longtime fans than an entryway for a broader audience.
  30. The shocks are short and sharp, the acting is strongest where it counts, and the director of photography, Adam Marsden, washes everything in a swampy green that makes spooks pop.

Top Trailers