The New York Times' Scores

For 11,991 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 Lincoln
Lowest review score: 0 Dirty Love
Score distribution:
11991 movie reviews
  1. The movie’s principal saving grace is Ms. Winslet’s convincing portrayal of Adele, a despairing woman of low self-esteem just a twitch away from a nervous breakdown. In almost every other respect, this overbaked romantic hokum is preposterous.
  2. Can a feature-length movie be built on minutiae like jammed copying machines, unsent business letters and orientation programs for new employees? This innocuous wisp of a film, as weighty as a scrap of fax paper caught in an updraft, suggests that the answer is no.
  3. The Neon Demon is hot garbage that dares you to call it offensive. In addition, it’s offensive.
  4. This reheated “Sex and the City” adventure flops, even with Leslie Mann and Rebel Wilson hard at work being funny.
  5. The movie isn’t interested in fully developed characters, just carnage.
  6. As this strained, foul-mouthed exercise in gallows humor proceeds, God’s Pocket sustains a facade of meanspirited deadpan comedy. But there are no laughs, not even smirks to be had.
  7. If you drink every time you’re reminded of Monty Python’s 1979 Judean jaunt, “Life of Brian,” you might just make it through to the end.
  8. This crude, inspirational tear-jerker is as sweet as a bowl of instant oatmeal smothered in molasses. It should please those who honestly believe that Santa Claus and God are synonymous; others may retch.
  9. With its fusty air and glumly earnest performances, this unnecessary reminder of Steven Spielberg’s soppy 2011 staging of another of Mr. Morpurgo’s novels, “War Horse,” is about as entertaining as trench mouth.
  10. What we see on screen is a lumbering, flat-footed fancy-dress melodrama.
  11. This floppy British romance, directed by Thea Sharrock and adapted by Jojo Moyes from her best-selling novel, sits at the point where tedium, ridiculousness and heartfelt sentiment converge, separated by an all-but-imperceptible distance.
  12. The movie, directed by Gavin O’Connor (“Tumbleweeds”), makes little sense. The screenplay, by Bill Dubuque, is so determined to hide its cards that when the big reveal finally arrives, it feels as underwhelming as it is preposterous.
  13. As its momentum accelerates, and its special effects transform it into a pulpy cartoon, Predators loses its judgment and turns into a frantic, clichéd chase film. This chaotic stew of fire, blood, mud and explosives is so devoid of terror and suspense that any metaphorical analysis is rendered moot.
  14. Witless, soulless, often amateurish and filled with product placements (nice going, Coors), the movie has nothing going for it other than some wasted talent.
  15. Misery Loves Comedy, Kevin Pollak’s survey of the opinions of a bunch of professionally funny people, is an evident labor of love and also a work of grating amateurism.
  16. Taken starts in low gear and almost immediately stalls out.
  17. This is crudely mounted, earnest advocacy, getting its points across at any cost.
  18. This painfully awkward product fails on almost every level.
  19. You don’t have to be a historian to wonder about the timing of the opening or a critic to regret that Mr. Crowe has signed onto a preposterous, would-be sweeping historical romance that’s far too slight and silly to carry the weight of real history.
  20. A.C.O.D., an unfunny comedy about a guy mooning over his parents’ divorce decades later, is so eager to please it’s hard to hate. But it’s sluggish even at 87 minutes, clichéd and gives you nothing of interest to look at other than some familiar faces.
  21. The movie’s setup has underdog appeal in spades. But it’s all for naught in a screenplay, by Elissa Matsueda (working from Joshua Davis’s 2005 article in Wired magazine), that plays down intellect in favor of corn and cliché.
  22. It’s a bummer to see Ms. Page and especially Ms. Moore — who at this point in her career can usually act her way out of any cliché — so badly stranded by a generic script, credited to Ron Nyswaner, and by a director, Peter Sollett, who can’t figure out how to lift his actors and the material above the bad writing.
  23. This may be the first movie that runs under two hours and yet has no attention span. Characters are abandoned and picked up; narrative threads dissolve before your very eyes.
  24. Mr. McDonagh’s palette and spleen remain mostly intact, but here he’s neglected to include a story or point.
  25. It takes an especially robust sense of self to so openly invite ridicule, rendering the film’s title somewhat less than credible.
  26. As flimsy and manipulative as the shallowest Hollywood fantasy.
  27. Skiptrace settles for a warmed-over plot, tedious fight sequences and humor that’s heavy on crotch jokes and pratfalls.
  28. Aiming for a moody portrait of psychological distress, Mark Jackson directs with a sluggish pace, an abstract style and a dismal aesthetic that rebuff involvement.
  29. A lackadaisical dive into backwoods barminess and masculine neuroses, this low-budget paean to indoor plumbing and rampant facial hair doesn't unfold so much as unravel.
  30. Trash is a shameless bid to recycle the mystique of “Slumdog Millionaire,” its likable, overrated prototype.

Top Trailers