The New York Times' Scores

For 9,439 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 We Were Here
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
9,439 movie reviews
  1. The movie plows through one outrageous sequence to the next with the momentum of a freight train.
  2. Tremors wants to be funny, but it spends too much time winking at the audience. More than anything else, it looks like the sort of movie that might have been put together so that tourists visiting Universal Studios could see a movie being made.
  3. It’s a hodgepodge that Michael Moore (whose movies Ms. Lessin and Mr. Deal have produced) and his editors might snappily dice together, but here the construction falls short.
  4. This gentle comedy, while entirely unmemorable, releases a genuine warmth that deflects harsh judgment. It doesn’t, however, excuse characters that are little more than props for embarrassing fashion or delivery systems for dated slang.
  5. Mr. West sets the scene reasonably well, ratcheting up a sense of unease with old-fashioned shadows and some nighttime scrambling, but he gets lost once he shifts from fooling around in the dark to recreating mass death.
  6. The film, by Jody Shapiro, seems so hagiographic that when it finally gets around to its 20 minutes’ worth of interesting stuff, you’re not sure whether to trust it.
  7. Disorientation is a double-edged sword, especially when the ostensible reorientation is as unsatisfying as it is here.
  8. You can admire what he does without really enjoying it, and two hours and 46 minutes of pulverized architecture is a lot to endure. But in every Michael Bay movie there are at least a few moments of inspired, kinetic absurdity.
  9. La Bare takes its title from the club it chronicles, a male strip joint in Dallas. The name proves unfortunately apt for a rambling, superficial documentary that straddles the line between exposé and infomercial.
  10. Technology remains no substitute for well-written characters and genuine intrigue and atmosphere, so despite the cute special effects and camera jostling, this film feels like an extended episode of an after-school show by Disney.
  11. Premature bops along with a wiseacre self-awareness and a nimble cast... But Mr. Beers and his fellow screenwriter, Mathew Harawitz, also have a numbing Seth MacFarlane-esque weakness for purely attention-getting crudeness and unfunny stereotypes.
  12. Straining to find a correlation, even metaphorical, between teenage hedonism and economic collapse, Affluenza never coheres.
  13. More begets more and then too much in Mood Indigo.
  14. “Another Earth” was a heartfelt entertainment that managed to infuse a tantalizing science fiction premise with thought and feeling. I Origins is too committed to explaining itself to repeat the trick and falls into the trap of taking its daffy intellectual conceits far too seriously.
  15. In 3-D, the firefighting scenes are visually striking — with plumes of smoke and chemical dust — though the backgrounds, like other aspects of the film, lack dimension.
  16. Essentially, we’re watching dead people refuse to lie down, yet the acting isn’t terrible, and Scott Winig’s photography is satisfyingly bleak and grimy.
  17. Narratively and emotionally, this weirdly becalmed trifle by Maria Sole Tognazzi ends up almost exactly where it started.
  18. Unfocused and repetitive, this feature-length commercial by Jeremy Snead uses a muddled timeline and bargain basement graphics to produce a horn-tooting, “Aren’t games awesome?” tone.
  19. Relatable doesn’t have to mean routine, but Mr. Reiner doesn’t always bother to tell the difference.
  20. Most of the movie is a losing proposition.
  21. The movie is so eager to convince us of Tagore’s greatness as a universal soul (it was Tagore, by the way, who gave Gandhi the name “mahatma,” or great soul) that it fails to give us the man or a clear sense of context.
  22. The insight that social media fosters false intimacy is old news. The film shows only a half-formed sense of how careers have changed in 30 years.
  23. A certain kind of discipline and experience is at work here: It’s no accident that the action and dialogue seem blandly cartoonish, as if the moviemakers wanted to keep everything easy for all ages to follow.
  24. A balloon of cuteness that makes you yearn for a pin, What If is Saturday night comfort food for those who need to believe that even the most curdled among us can find a mate.
  25. After turns out to be working territory that, while emotionally fraught, has already been pretty thoroughly mined.
  26. Proceeding in a tone of unrelieved misery, Coldwater is a punishing, predictable drama that’s almost rescued by strong acting and good intentions.
  27. It’s all a bit like a classic-rock tribute concert, or playing with all your action figures at once, or maybe “Cannonball Run,” with the strained buddy-buddy back-and-forth.
  28. The Word is never boring, though that has as much to do with the mounting absurdities and ripe acting as it does with the resourceful use of crosscutting by the director, Gregory W. Friedle.
  29. The journey from page to screen may have battered Mr. Welch’s novel, but its lamenting heart beats loud and clear.
  30. The best antidote to all the glowering and posing is Eva Green: As Ava, the titular dame, she’s nothing short of a godsend.

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