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. Directed by Auraeus Solito from a screenplay by Michiko Yamamoto, Maximo has charmed film festival audiences from Sundance to Jerusalem with its refreshingly blasé handling of homosexuality, its amiable actors and its delicacy of milieu. Credit, above all, the talented Mr. Lopez, whose effortless charisma buoys the movie even when it goes heavy with contrivance.
  2. Furiously paced, with excellent performances by Forest Whitaker as Amin and James McAvoy as the foolish Scotsman who becomes the leader's personal physician, the film has texture, if not depth and enough intelligence to almost persuade you that it actually has something of note to say.
  3. Boring people who made extraordinary music, the Pixies are inexplicable. In attempting to demystify them, the directors Steven Cantor and Matthew Galkin achieve the opposite.
  4. An ode to the joy and sweet release of sex, the film manages to be a sincere, modest political venture that finds humor where you might least expect it, notably in a ménage à trois featuring a cheeky rendition of "The Star Spangled Banner."
  5. As much a work of sculpture as of cinema, this 71-minute movie, 13 years in the making, is the handmade brainchild of Christiane Cegavske, an artist who dabbles in film but whose talents and sensibility align more naturally with those of the contemporary-art world.
  6. One of the most disquieting (and challenging) statistics is left for last: if Africa's share of world trade increased by only one percentage point, it would generate $70 billion a year, five times what the continent receives in aid. Who wouldn't want that?
  7. A clear-eyed and utterly ruthless dissection of the battle for Ohio in the months leading up to the 2004 presidential election.
  8. The screwball aging diva genre isn't the only formula guiding this stubbornly old-fashioned movie. Driving Lessons belongs to the silly feel-good mode of "The Full Monty," "Calendar Girls," "Billy Elliot," "Kinky Boots" and dozens of other celebrations of Britons defying convention to become "free," whatever that means.
  9. A novel teenage comedy with an astute understanding of adolescent sexual confusion and the nebulous nature of desire, Zerophilia suggests an elastic view of gender that's alternately gleeful and terrifying.
  10. Ms. Bening's precise, pitiless tracing of her character's decline from feisty defiance to pathetic, overmedicated self-delusion gives the film an emotional weight it might not otherwise have.
  11. The film’s guileless, heartfelt style veers perilously close to corniness at times, but the superb cast dares you to mock.
  12. Sleeping Dogs Lie doesn't pretend to be more than it is: a blunt, provocative comedy sketch whose visual look is almost as bare as that of an episode of the underappreciated Home Box Office series "Lucky Louie." The acting, especially by Ms. Hamilton, is better than serviceable.
  13. The movie offers a revealing case study of the relationship between politics, celebrity and the media in today’s polarized social climate.
  14. A brash, vivacious concoction of dark comedy, light drama and musical performance.
  15. There is plenty of substance in Absolute Wilson, as it provides a concise and absorbing portrait of a powerful creative personality.
  16. This eerie and indelible documentary about suicide juxtaposes transcendent beauty with personal tragedy.
  17. While Stranger Than Fiction traffics in a bit of darkly funny existential anxiety, it also finds room for romantic fantasy and sentimental uplift.
  18. Is this evidence of cultural decline? It's hard to think of a short answer that wouldn't be made more vivid by the insertion of the forbidden word. So skip it. No, not the movie. What, are you kidding me? No way. Go. Help yourself.
  19. While compromised by the uplift and affirmation that mainstream animation regurgitates like a mommy penguin, it also shows a remarkable persistence of vision. Even in a story about singing-and-dancing fat and feather, Mr. Miller can’t help but go dark and deep.
  20. It takes a while to realize that this is actually a sly, very funny comedy, one that stays admirably deadpan every time you think it’s about to veer into gross-out territory.
  21. Doesn’t add anything substantively new, though it has been nicely directed by Neil Armfield, known in his country for his theater work, and features striking performances from Heath Ledger and Geoffrey Rush.
  22. Mr. Lipsky’s screenplay, a messy collection of fragments arranged chronologically, adds up to one of the most intimate screen portraits of a relationship ever attempted.
  23. Funny? Yes. Revealing? No. By and large, the movie is content to offer amusing caricatures and leave it at that.
  24. John Waters is darned entertaining as he delivers a monologue that annotates his scandalous movies and encompasses assorted other subjects that interest or annoy him.
  25. At its best, The Nativity Story shares with "Hail Mary" an interest in finding a kernel of realism in the old story of a pregnant teenager in hard times. Buried in the pageantry, in other words, is an interesting movie.
  26. Had it taken a more hard-headed approach, 3 Needles, might have been to the AIDS epidemic what "Traffic" was to the drug trade.
  27. This is a picture with nothing to prove, and not all that much to say, but its modesty and good humor make it hard to resist.
  28. Off the Black is so much Mr. Nolte’s movie that it couldn’t exist without him. His character is the latest in a long line of Hemingway-esque ruins, marinated in beer and testosterone, who have become Mr. Nolte’s specialty.
  29. Whether through craft or constitution, Mr. Norton invests Walter with a petty cruelty that makes his character’s emotional thaw and Kitty’s predicament all the more poignant.
  30. It's the same old bootstraps story, an American dream artfully told, skillfully sold. To that calculated end, the filmmaking is seamless, unadorned, transparent, the better to serve Mr. Smith's warm expressiveness.

Top Trailers