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. Risky Business
    Risky Business improves as it goes along.
  2. Charlie's Country
    Unlike those in many art-house releases, this wilderness is not an abstract arena for playing out alienation but a living, breathing land with deep, abiding significance for Charlie and his fellow Aborigines cast adrift.
  3. Under the Tree
    Maintaining an unrelentingly gleeful grip on the film’s tone, Mr. Sigurdsson skillfully whips absurdist comedy and chilling tragedy into a froth of surging hostilities.
  4. Attack the Block
    This fabulously inventive debut feature, written and directed by the British comedian Joe Cornish, never flags.
  5. The Fate of Lee Khan (1973)
    Once the players are established, the movie falls into a sweet lather, rinse, repeat mode of scenes, alternating character intrigue and fighting.
  6. Elizabeth Taylor: The Lost Tapes
    It’s not just a fascinating glimpse into a woman who spent her whole life in the spotlight. It’s a chronicle of a moment when everything changed, and a sobering reminder that we often think we know who public figures are, but we rarely really understand.
  7. Get Me Roger Stone
    Topicality is all or at least a large part of the movie’s draw.
  8. Cul-de-sac
    Is Mr. Polanski endeavoring to tell us anything about life or crime or perversion in this complex and terminally morbid joke?If he is, I sure don't get it — except maybe that people are sick, that even good humor isn't funny and that social sterility is.
  9. The Count of Monte Cristo
    Refusing to pander to restless derrières, they’ve given this big, bounding, beautifully cinematic swashbuckler almost three hours to breathe. Yet their pacing is so frisky — and Celia Lafitedupont’s editing so elegant — your derrière is unlikely to complain.
  10. The Wolf of Wall Street
    This movie may tire you out with its hammering, swaggering excess, but it is never less than wide-awake.
  11. Ballplayer: Pelotero
    Commendably, the film, narrated by John Leguizamo, sugarcoats nothing, and the people involved - the players, their trainers, their parents, the scouts - are remarkably forthright.
  12. Notes on Blindness
    The tone of the narration is so wrenchingly honest that the film never lapses into self-pity or relies on mystical platitudes.
  13. Zombi Child
    The movie’s inconclusiveness is the source of its appeal; Zombi Child is fueled by insinuation and fascination.
  14. Terror's Advocate
    It is one of the most engaging, morally unsettling political thrillers in quite some time, with the extra advantage of being true.
  15. Diamond Tongues
    The prickly tone is a difficult balancing act, and Diamond Tongues may settle for being a softer-hearted film than its most cynical scenes portend. But it has a palpable affection for Toronto’s cultural scene and for Ms. Goldstein.
  16. Nothing Lasts Forever
    That marketing campaigns are built on fallacies isn’t exactly revelatory, but in pairing his excavation of the diamond myth with new inquiries into how the industry is evolving (and how it’s stagnating), Kohn strikes on something valuable.
  17. My Name Is Alfred Hitchcock
    Cousins’s attuned eye and ear keep us interested afresh in the Hitchcock magic.
  18. Dark Horse
    Dark Horse is a canny package that uses the classic structure of the sports-underdog story to deliver a glowing ode to community pride and the merits of collective action over individual gain.
  19. Sweet Land
    The film’s guileless, heartfelt style veers perilously close to corniness at times, but the superb cast dares you to mock.
  20. One Cut, One Life
    As much as the film is shadowed by a keen awareness of mortality, One Cut, One Life often pulses with an almost ecstatic vitality. In its vision of human existence, life is as messy and unpredictable as it is precious.
    • 75 Metascore
    • 50 Critic Score
    House of Usher
    Under the low-budget circumstances, Vincent Price and Myrna Fahey should not be blamed for portraying the decadent Ushers with arch affectation, nor Mark Damon held to account for the traces of Brooklynese that creep into his stiffly costumed impersonation of the mystified interloper.
  22. The Two Popes
    The actors draw out both the spiritual and the psychological dimensions of their characters. The interplay, a duet with sweet and eccentric harmonies, is fascinating to observe, even as it undermines the overall structure of the narrative.
  23. Muscle Shoals
    At once overstuffed with interviews and intellectually underdeveloped, the movie charts the area’s music industry and what is lyrically if elusively called the Muscle Shoals sound.
  24. Honey
    Honey, the impressive debut feature by Ms. Golino, sustains a contemplative mood with undersaturated cinematography that evokes the world as perceived through a light mist.
  25. Mala Mala
    While affirming the dignity of its subjects, Mala Mala shows there’s little glamour attached to the pursuit of selfhood.
  26. Notturno
    The past two decades of documentary film have produced many anatomies of history that attempt to summarize several millenniums, but Rosi’s borderless tableaus bring out another kind of truth in faces, places and pure feeling.
  27. Misery
    It seems to want to be a Hitchcockian kind of cat-and-mouse suspense melodrama, which demands a lot more ingenuity than Mr. Reiner or Mr. Goldman ever muster. Misery is just good enough that one wishes it were far better. The ideas are there, but they become lost in the heavy-handed treatment.
  28. In Between Days
    Sensitive, modest, thrillingly self-assured first feature by So Yong Kim, was one of the standouts of the 2006 Sundance Film Festival -- exactly the kind of thoughtful, independent work one hopes to find there and too rarely does.
  29. Harry Dean Stanton: Partly Fiction
    Matching her subject’s lackadaisical rhythms, Ms. Huber has shaped an unusually poetic biopic.
  30. Win Win
    Win Win goes a bit soft in places, protecting its characters from serious danger or tough moral reckoning. But the film's niceness is also central to its appeal, because nearly all of the characters are people you enjoy spending time with.
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