The New York Times' Scores

For 20,313 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:
20313 movie reviews
  1. Succeeds in illuminating an almost unimaginably dark story.
  2. Lightly stained a nicotine brown and topped by two male actors who could steal a movie from a basket of mewling kittens and an army of rosy-cheeked orphans, the film is as calculating and glossy a hard-luck tale as any cooked up on the old M-G-M lot.
  3. Of these four plots, the story of Carmen's blended family is by far the most consistently engaging, largely because of the vibrant presence of Ms. Ferrera.
  4. Alternately hilarious and alarming documentary.
  5. Its rich, wide-angle view of Italian politics and society stays with you. The details may vary from nation to nation in the industrialized West, but the big picture is pretty much the same everywhere.
  6. Meets its main requirements: it adapts a classic novel in gleaming cinematic form, and it ridicules the foibles of ruthless adults.
  7. Warm and fuzzy documentary.
  8. Café Lumière stands in relation to "Tokyo Story" as a faint, diminished echo. It is nonetheless a fascinating curiosity, a chance to witness one major filmmaker paying tribute to another in the form of a rigorously minor film.
  9. This warm, sorrowful film plays like a downbeat variation on an old World War II picture from Hollywood.
  10. The movie might as well have been called "An Immersion in Tibetan Buddhism." With minimal explanation, it puts you right in the center.
  11. What makes the film worth watching are the extraordinary performances by the more than 250 children cast as orphans.
  12. A perfectly silly movie for a silly season that in recent years has forgotten how to be this silly. Directed by Angela Robinson, this latest installment in the movie-television franchise about a tiny car named Herbie with a will of its own and the temperament of a rambunctious 7-year-old knows exactly what it is and what it isn't.
  13. Indeed, the movie sometimes has trouble living up to the richness of its subject, or keeping up with the dances' rapid spread and evolution.
  14. Ms. Giocante's intoxicating mixture of gamine innocence and womanly knowingness is almost too much for the movie - Lila is surely too much for Chimo - but her charisma, and Mr. Doueiri's insouciant, heart-on-the-sleeve style give it a mood that is at once breathlessly romantic and cannily down to earth.
  15. More history lesson than dirt-digging expedition, and makes illuminating viewing for anyone curious about how the movies get made - information that is sometimes more interesting than the movies themselves.
  16. Acting is not really the point of this movie, which seems to arise above all from Mr. Spielberg's desire to reaffirm that he is, along with everything else, a master of pure action filmmaking.
  17. Loosely constructed, The World drifts along pleasantly for much of its two-and-a-half-hour running time. Mr. Jia has a terrific eye and an almost sculptural sense of film space (especially in close quarters), and he brings texture and density to even the most nondescript rooms.
  18. It is hard not to admire the independence and ambition of The Beautiful Country, even if the film does fall short of its epic intentions.
  19. Certainly not the first film to show how a crushing urban environment can make a sensible-sounding antidrug slogan like "just say no" seem like so much nonsense, but it's one of the strongest.
  20. It's an intimate chamber piece, dialogue-heavy and at times claustrophobic, but the four central characters are so deftly sketched, and their shifting alliances so intricately choreographed, that the film never feels talky or staged. The actors are consistently excellent.
  21. Glossy, witty eye candy with some moderately chewy stuff in the middle. This lavish, exhaustingly kinetic film is smarter than you might expect, and at the same time dumber than it could be. It's an impressive product: a triumph of cloning that almost convinces you that it possesses a soul.
  22. 9 Songs, for all its failed ambitions and its tinge of sexism, is lovely to watch.
  23. It's an honorable introduction to an important figure.
  24. This zippy Disney adventure-comedy, crammed with special effects, asks that age-old rhetorical question, "Is there life after high school?," and answers it with a cheerful "Not really."
  25. Dai Sijie's tender, touching adaptation of his own novel of the same title.
  26. Mr. Toledo's performance as the shallow and cowardly, yet strangely sympathetic Rafael is a wonder of comic timing, while Ms. Cervera is unforgettable as Lourdes, the ugly duckling who becomes not a swan, but a monster.
  27. The French filmmaker Simone Bitton takes a measured look at the barrier in her documentary Wall, a film that considers hard-core political realities alongside agonizing personal truths.
  28. The spiky documentary in their honor keeps alive the echoes of their slapdash, Smithsonian-worthy sound.
  29. Mr. Kerrigan isn't just playing with our sympathies; he's also playing with our assumptions. That keeps the tension going.
  30. The yummy Japanese confection Kamikaze Girls deserves both a better title and an audience to go with it.

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