The New York Times' Scores

For 20,280 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:
20280 movie reviews
  1. Originally released seven years ago on home video, is only now surfacing as a theatrical release. Although it's no classic, it's a cut or two smarter than the average Hollywood comedy. At its best, it plays like a less acerbic, less Jewish triple episode of "Curb Your Enthusiasm." (review of re-release)
  2. Films like "The Pianist" and "Schindler's List" immerse viewers in the bleakness of that time. The Red Orchestra is set in a sunnier world, which seems more frighteningly false. The bright, quotidian landscape seems a facade that threatens to tumble at any moment.
  3. Over all, this deferential film salutes Mr. Hockney's artistry as an elixir for creaky texts, a hallucinogen for orthodox opera fans, and an antidote to his own senescence. As much as he lets the filmmaker be present, he successfully avoids real intimacy, keeping his personal life comfortably backstage.
  4. Rick King's stirring documentary Voices in Wartime is not, as you might guess from the title, a compilation of soldiers' battlefield letters to their families back home. This intense little film is about poetry, and not just Homer's "Iliad."
  5. Bruising but illuminating documentary.
  6. Moving and ultimately hopeful, Another Road Home makes no effort to soften or simplify its prickly themes.
  7. The cinematic safari's simple pleasures are best experienced with the littlest ticket-holders, who get an edifying thrill ride and a computer-assisted sense of a wider world.
  8. The movie is 74 minutes of hilarious pro-drug vignettes, loosely strung together like a themed episode of "Saturday Night Live."
  9. Despite being edited in a style that jarringly blurs the past and the present by switching from one to the other without preparation, Almost Brothers is strong stuff.
  10. An inspiring film about an inspired teacher. It should leave all viewers with an ounce of curiosity eager to hit the streets with Dobsonian telescopes of their own.
  11. Lustre is a post-Sept. 11 love letter to a New York past that Mr. Jones clearly mourns.
  12. The resulting film is a record of indefatigably focused activity that began with the simple goal of rescue but evolved into a therapeutic tool for resolution and acceptance.
  13. Considering the delicate and weighty subject matter, the film's tone is surprisingly light, sometimes even humorous, which helps to balance the harsh sentiments that death inevitably brings.
  14. Interspersing shots from the original film - many of which are justly famous for their power and complexity - with interviews, Mr. Ferraz has produced a welcome piece of historical explication.
  15. Without losing sight of the music's essential energy, Mr. Wolfe peppers his film with quietly resonant shots.
  16. A quiet, thoughtful film about isolation and separation.
  17. The director, who also served as producer along with Lisa Comforty, his wife, spent 12 years compiling the archival clips and photographs that make up this compact and elegant film.
  18. Intriguing documentary.
  19. With its deliberately overexposed film stock and driving electronic score, Ms. Maccarone's film occasionally suffers from a self-conscious artiness, but at its center is an extraordinary performance by Ms. Tabatabai as Fariba, a young woman whose expectations have been lowered by a lifetime of systematic mistreatment but who still holds out hope for the possibility of both justice and love.
  20. A bracingly honest yet poetic portrait of a man refusing to be defined by the limitations of his body.
  21. Watching the aging, but still spirited, singers come together to express their gratitude for the man who started their careers is often genuinely touching.
  22. In the film's production notes, Mr. Glawogger wonders, "Is heavy manual labor disappearing or is it just becoming invisible?" In this visually impressive but proudly unscientific hymn to progress, the answers are yes and yes.
  23. Only inconsistent pacing and a few minor contrivances that develop late in the film dull its otherwise quietly effective dramatic impact.
  24. The uninitiated viewer can admire it simply for the majesty of its visual poetry.
  25. A delicately funny tale about everyday surrealism.
  26. This pleasant if inconsequential romantic comedy from the Croatian director Hrvoje Hribar is distinguished by its good-natured sensibility and rowdy, slightly fabulous tone: a kind of Eastern European magic realism, without the magic.
  27. Crammed with comments from patrons and performers, La Tropical is a sensual celebration of people for whom dancing is the "most important nonreligious ritual."
  28. What emerges is less the celebration of an institution than a picture of man's relationship to nature that is every bit as beguiling as a Rousseau.
  29. Tells the depressing, often ridiculous and generally enraging story of how and why Mr. Chong, an extremely laid-back and genial camera presence, ended up doing time in the minimum-security Taft Correctional Institution in Taft, Calif.
  30. Affected but elegant, this digital video riff on "Death in Venice" was orchestrated by Lech Majewski, the Polish writer, painter and director of films, plays and operas. His musicality is evident in the fresh and lively flow of images, though his tin ear for dialogue and staleness of theme enervates the composition.
  31. Room is an existential horror film, a parable of the war against terror being waged in Julia's psyche.
  32. As thorough an examination of the sport as you could hope to squeeze into 90 taut, well-organized minutes.
  33. Similar stories in the United States tend to be turned into made-for-television mush. This one is manipulative in its own way, but it casts a sweet spell nonetheless.
    • 70 Metascore
    • 70 Critic Score
    The movie is most engaging when following Mr. Mendelson around his old neighborhood, Borough Park, which, we learn, is simply teeming with bakers whose singing is on a par with their knishes.
  34. The fact that her story of triumph over unimaginable odds doesn't come freighted with mystical and religious bromides makes it all the more inspiring.
  35. Despite its immersion in tragedy and decline, So Much So Fast is leavened by unexpected humor.
  36. Smart, resourceful indie.
  37. Keir Moreano’s muted yet moving record of his father's experience as a volunteer doctor in Vietnam, documents a journey that's substantially more philosophical than medical.
  38. A straightforward, quietly persuasive primer on the climate-change crisis.
  39. It isn't often that you see a film about Israelis and Palestinians that can be called hopeful, but Ronit Avni's assured, thoughtful and clear-eyed documentary certainly qualifies.
  40. As this smart, hard-bitten woman with an eighth-grade education pursues her quest, the documentary portrays the debate between connoisseurship and science as a culture war.
  41. This innovative chronicle of a truly modern romance also conveys, in a painful, darkly humorous way, a variety of ultra-identifiable truths, including the loneliness often suffered by big-city inhabitants and the complexities of sexual intimacy.
  42. A perceptive and beautifully acted drama.
  43. Delicate, bittersweet comedy.
  44. Julian P. Hobbs directs by getting out of the way of his star's soulful eyes and considerable talent, allowing Mr. Mays to feed on the tension between the rationality of his character's courtroom argument and the utter lunacy of his beliefs.
  45. Ellington fans will certainly relish the many vintage clips scattered throughout.
  46. One of those rare ensemble dramas whose actors work toward common goals rather than individual awards, the movie resolves its creeping escalation of poor judgment and reprehensible behavior with surprising emotional force.
    • tbd Metascore
    • 70 Critic Score
    Nonfiction doesn't quite describe what Ms. Bruno does. Her work takes risks with form to imply that individual suffering and transcendence are but particles in a river of spiritual energy that dwarfs geography and time.
  47. An unusually perceptive scrutiny of absence and emptiness.
  48. If it tells, in Mr. Ludin’s words, "a typical German story," the movie also offers an unusually matter-of-fact picture of the private and public effects of ordinary evil.
  49. A heartbreaking and meticulous documentary about life inside a blue-jeans factory in China.
  50. Like most films of this type, Room 314 demands a great deal from its performers, not all of whom withstand the intense scrutiny. Fortunately, the action is bookended by four of the best.
    • 70 Metascore
    • 70 Critic Score
    So much of American pop thrives on a bratty facsimile of courage that when you see the real deal, it's a revelation. East of Havana is the real deal.
  51. Notes on Marie Menken shines a quavering if welcome ray of light on a largely forgotten figure in the American avant-garde film scene of the 1940s, ’50s and ’60s.
  52. Border Post is notable for representing all of Yugoslavia's former member republics among its producers and for a tone that juggles humor and harshness without sacrificing either.
  53. Gorgeously shot, moving through the decades in a gentle adagio, it is less a chronicle than a tribute -- and also, to non-initiates in the game of go, a bit of a puzzle.
    • 70 Metascore
    • 70 Critic Score
    The movie's meat-and-potatoes style seems less a failure of imagination than a means of putting in the foreground its intriguing subject matter.
  54. Syndromes and a Century, like its curious title, has the logic of a dream, a piece of music or perhaps a John Ashbery poem. Its coherence is evident; it is too lovely and lucid to be frustrating or dull. But it takes place just on the other side of conscious apprehension.
  55. A lively romp through terrain less traveled than you might think.
  56. An enigmatic and utterly compelling story of incinerated art, unbridled egos and exotic plants.
    • 73 Metascore
    • 70 Critic Score
    ShowBusiness is packed with telling details that the director, Dori Berinstein, was lucky to catch on camera.
  57. Memories of Tomorrow finally understands that the real victim of this terrible affliction is the partner left behind.
  58. Like all of Mr. von Trier's films, The Boss of It All is a cold, misanthropic work that places no faith in institutions and in humanity itself. But it's also very funny.
  59. Mostly Mr. Jun's script is sharp, and Laurie Metcalf, James McDaniel, America Ferrera and Raymond J. Barry in supporting roles help keep the tale mesmerizing, in a small-scale sort of way.
  60. In Pierrepoint:The Last Hangman Timothy Spall sinks his teeth into one of the juiciest roles of his career.
  61. Set against lovely verdant scenery but structured as a series of rambling vignettes, the stories in Being Human don't entirely mesh.
    • 65 Metascore
    • 70 Critic Score
    An example of a film whose style doesn’t merely suit its story but amplifies its meanings.
  62. A giddy romantic comedy with star power.
  63. When they discover they've been made fools of, they accept this performance event with surprising equanimity. There is a lot of grumbling but no riot. They get the joke.
    • 62 Metascore
    • 70 Critic Score
    Intrigues because it presents an outwardly decent man falling equally in love with two women but eschews simplistic judgments.
    • 68 Metascore
    • 70 Critic Score
    The sum total of this gamesmanship is a suspenseful, funny film that touches on a corporation’s responsibility to society, the price of ambition, the persistence of workplace sexism, the destructive competition between women, and why it’s a good idea to take an extra shirt to your next interview.
  64. Even naysayers of reality TV’s simplistic structure, which the film openly borrows, may find themselves rooting for a couple of choice -- and having fun in the process. The real-estate game can actually be a laughing matter when you’re not a contestant.
  65. Vividly impressionistic and delightfully curious.
  66. The reckoning with the past, which has occupied West German society since the 1960s, has been painful and divisive, which makes the calm, empirical spirit of this film all the more impressive.
  67. I found Mr. Zobel’s film touching and amusing, but it also left me a bit queasy.
    • 70 Metascore
    • 70 Critic Score
    In its modest way, Outsourced may be unique: a charming culture-clash romance that could be taught in business schools.
    • The New York Times
  68. A fascinating blend of musical, melodrama and feminist fairy tale, Laaga Chunari Mein Daag shows Bollywood’s moral universe in transition.
  69. Inert yet strangely compelling film.
    • 72 Metascore
    • 70 Critic Score
    Built around “Save It for the Stage,” a one-man stage show by Charles Nelson Reilly, a showbiz gadfly and Tony Award-winning theater director.
    • 69 Metascore
    • 70 Critic Score
    What makes Ms. Ohayon’s movie special is its recognition that epic horrors don’t erase private dramas.
  70. Just below the movie’s attitude of pep-rally cheer is a mood that approaches despair. Mr. Gelbspan has probably amassed as much hard evidence of climate change as anyone alive.
  71. Part tribute, part musical mystery, ’Tis Autumn: The Search for Jackie Paris shines an overdue spotlight on a great who got away.
  72. Jessica Yu’s enthralling documentary exploration of people with obsessive needs for control and self-mastery.
  73. Wry and tender and delicately melancholic, Woman on the Beach shows a newly confident filmmaker again working near the top of his form after the disappointing “Tale of Cinema” (2005), even if the new film unfolds straightforwardly, with none of the narrative ellipses and puzzle-box complications, the flashbacks and parallel story lines of his earlier work.
  74. CJ7
    A devilishly entertaining curveball thrown at unsuspecting family audiences.
  75. In spite of its raw, explicit moments, the film is at heart a sturdy morality tale about innocence and corruption, wealth and want, sex and power.
  76. The film demands engagement and a kind of surrender, a willingness to enter into a work shaped by correlation, metaphor and metonymy, by beautiful images and fragments of ideas, a work that locates the music in the twitching of a dog’s ears, in the curve of a woman’s belly, a child’s song and an adult’s reverie.
  77. A jubilant documentary about a place where power chords and empowerment go hand in hand.
    • 68 Metascore
    • 70 Critic Score
    The movie lets parallels between that time and the post-9/11 era emerge organically, in the manner of a fable that subtly illuminates your own life.
  78. Crammed with colorful interviews, digital animation and live performances, this frisky and forthright film by Dean Budnick chronicles a vision of financing social progress with really great tunes.
  79. The girl-boy-girl threesome, which turns out to be short-lived, is perhaps the most straightforward emotional configuration in this odd, witty, touching film.
    • 63 Metascore
    • 70 Critic Score
    From moment to moment, Planet B-Boy is fun, sometimes thrilling and packed with illuminating details and striking personalities.
  80. Ten years in the making, Hats Off is a documentary tribute to the 93-year-old actress Mimi Weddell, one of those people for whom the word “individual” seems especially apt.
  81. Mr. Wang and his screenwriting collaborator, Lu Wei (“Farewell My Concubine”), portray a world that, apart from its hardship, is thoroughly recognizable in its human complexity. Its characters are motivated by the same needs for companionship and material well-being and the same demons — greed, lust, jealousy and despair -- that drive everybody.
  82. The great virtue of Smart People, attributable to Noam Murro’s easygoing direction as well as to Mr. Poirier’s wandering screenplay, lies in its general preference for small insights over grand revelations.
  83. The film, fluidly shot by James Adolphus, remains deeply sensitive to the complexities of a culture whose attachment to monarchy contravenes its best interests. This dilemma is gradually becoming clear to Princess Sikhanyiso, the oldest of the king's 22 children and a student in California. Intelligent, articulate, caring and strong-willed, she could be her country's best hope.
  84. Vijay Krishna Acharya, an accomplished screenwriter making his directing debut, seems eager to show that he can deliver a movie in the high style -- bright, pop and technically sophisticated -- to which Bollywood has become accustomed.
  85. Adam Hootnick’s Unsettled makes the political personal, drawing a scattershot yet intimate picture of a nation divided.
  86. A movie of stark contrasts and zigzagging motives, Beauty in Trouble moves from the golden serenity of a Tuscan villa to the powdery chaos of a Czech garage without sacrificing thematic confidence or nuanced performances.
  87. It's possible that two actors other than Samantha Morton and Jason Patric might do justice to Cecilia Miniucchi's story about two badly matched Santa Monica, Calif., parking enforcement officers who stumble and grope into a relationship. But it's hard to think of a better match for the stubborn idiosyncrasies of Ms. Miniucchi's visual style and worldview than these two.

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