The New York Times' Scores

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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:
  1. Positive: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. Is the Man Who Is Tall Happy?
    Blissfully unconventional as a documentary and as an intellectual endeavor, Is the Man Who Is Tall Happy? won’t tell you everything you’ve always wanted to know about Mr. Chomsky, but its modesty is one of its strengths, along with Mr. Gondry’s entrancing, vibrant illustrations.
  2. Happy Valley
    Happy Valley, even as it revisits past events, has a chilling timeliness.
  3. A Hard Day
    A kinetically visceral, enjoyable nasty joy ride, “A Hard Day” is pretty much as advertised.
  4. The Lovers
    Falling with a thud between two stools, it has neither the zip nor the zaniness of farce nor the airy vivacity of the best romantic comedies.
    • 76 Metascore
    • 80 Critic Score
    The Front Page
    Front Page displays a giddy bitterness that is rare in any films except those of Mr. Wilder. It is also, much of the time, extremely funny.
  6. Nothing Compares
    Nothing Compares is a worthwhile appreciation of the artist.
  7. Hokum
    Reveling in misdirection and a teasing duality . . . Hokum profits from Colm Hogan’s insinuating camera as it noses through gloomy corridors and a terrifying dumbwaiter shaft, hinting at what lurks on the other side of the frame.
  8. The Love That Remains
    The landscape in which this family makes its domestic life is wild and lovely, and Palmason signals the changing of the seasons by showing us all of its beauty: the snow and ice, the sunshine and greenery, beautiful skies, placid water. The weather can be both delightful and harsh, warm and chilly, and that’s mirrored in the characters.
  9. Sound City
    [Grohl] shows a decent grasp of how to pace a documentary and how to push nostalgia buttons, avoiding the marsh of smarminess most - though not quite all - of the time.
  10. Greenberg
    It is the funniest and saddest movie Mr. Baumbach has made so far, and also the riskiest.
  11. The Mend
    Directing his first feature after some shorts, John Magary digs into his characters with fresh eyes and a sly sense of adventure.
  12. The Girl with the Dragon Tattoo
    Though Ms. Rapace is a fine professional scowler, with cheekbones that thrust like knives and a pout that’s mostly pucker, she tends to register as an intriguing idea instead of a thoroughly realized character. She more or less looks the part that the filmmakers don’t let her fully play.
  13. The Tarnished Angels
    Mr. Faulkner's faded story does have some flavor of the old barnstorming tours of the early air-circus fliers, but there is precious little of it in this film, which was badly, cheaply written by George Zuckerman and is abominably played by a hand-picked cast.
  14. Five Star
    Slow and steady, and with remarkable assuredness, Keith Miller’s Five Star plays mean-streets drama in the lowest of keys.
  15. The Fire Inside
    The Fire Inside has a little more going on under the hood than your average sports movie.
  16. The Killing Fields
    Unfortunately, the most moving aspect of The Killing Fields is not the friendship, which should be the film's core, but the fact that the friendship never becomes as inspiriting as the one Mr. Schanberg recalled in his own searching, unhackneyed prose.
  17. Stuff and Dough
    The brilliance of Stuff and Dough is that it wraps this powerful, disturbing drama in an anecdote from ordinary life. As is often the case in recent Romanian movies, the acting is so accomplished as to be invisible.
  18. Operation Homecoming: Writing the Wartime Experience
    The best pieces portray combat as such a heightened sensory experience that it demands to be written about, and they suggest that war can turn ordinary men who wouldn’t think of keeping diaries into latter-day Hemingways.
  19. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
    The next two hours might not have quite delivered on that initial promise of wonder - we grown-ups, being heavy, are not so easily swept away by visual tricks - except when I looked away from the screen at the faces of breathless and wide-eyed children, my own among them, for whom the whole experience was new, strange, disturbing and delightful.
  20. For Ahkeem
    While the film ends at a logical stopping point, it feels incomplete. It probably could have used a few more years of filming.
  21. Once Upon a Time in America
    It's a collection of occasionally vivid but mostly unfathomable incidents in which people are introduced and then disappear with the unexplained suddenness of victims of mob murders. [U.S. theatrical release]
  22. Loveless
    An aimless film about an aimless fellow, but it's not without its charms. It may be without a point, but hey, you can't have everything in a no-budget film like this.
  23. Kids for Cash
    Carefully assembled and soberly presented, Robert May’s Kids for Cash takes a lacerating look at America’s juvenile justice system.
  24. Straw Dogs
    It is an intelligent movie, but interesting only in the context of his other works.
  25. Encanto
    The Madrigal family members belong even when they’re not conjuring roses or transforming the weather. And even with these fantastic feats of wizardry, the Madrigals, with all of their relatable family dynamics, are believably loving, funny and flawed.
  26. Don't Blink - Robert Frank
    You leave with a vivid sense of the man’s living presence and a reasonably thorough account of his life, work and associations. Given the sheer volume and variety of the work in question, this is an impressive achievement.
  27. Yourself and Yours
    Hong’s formal confidence yields a movie that’s very simply constructed and utterly engrossing.
  28. The Hit
    The Hit' is a disappointing English underworld movie directed by Stephen Frears. Less a film noir than a film gris, partly because almost all of it takes place in sun- drenched Spain and because the characters talk too much. These guys don't have to use guns. All they have to do is open their mouths and bore each other to death.
  29. Beetle Queen Conquers Tokyo
    The diverting Beetle Queen, like “Lost in Translation” or Takashi Murakami’s art, says less about Japan than it does about America’s continuing fascination with modern Japanese culture.
  30. Farewell Amor
    Even as Farewell Amor treads familiar paths, its tripartite structure allows for uncommon nuance.
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