The New York Times' Scores

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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:
  1. Positive: 9,401 out of 20313
  2. Mixed: 8,446 out of 20313
  3. Negative: 2,466 out of 20313
20313 movie reviews
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  1. Mister Foe
    If the extremity of Hallam's temperament tests the limits of our sympathy as well as our credulity, Mr. Bell's ability to seem by turns sweet and scary prevents us from losing interest entirely.
  2. Ping Pong Playa
    A bright, nimble diversion, a quick-witted picture that's fast on its feet.
  3. Flow: For Love of Water
    Irena Salina's astonishingly wide-ranging film is less depressing than galvanizing, an informed and heartfelt examination of the tug of war between public health and private interests.
  4. A Thousand Years of Good Prayers
    A gentle, pleasantly unrushed piece of moviemaking. There’s a tonic simplicity to how it gets the job done, and if the film comes off as fairly conventional stuff, it nevertheless succeeds on its own modest, middlebrow terms.
  5. The Lucky Ones
    Because the lead actors work so well together, adding depth and levels of vulnerability to fairly underwritten roles, the emotional consequences of the sense of displacement these "lucky" characters -- lucky to be alive, lucky to have met one another -- must deal with always ring true.
  6. Choke
    It adds up to an entertaining collection of vignettes strung together by a sarcastic loudmouth whose heart is breaking under his sophomoric bravado.
  7. Nick and Norah's Infinite Playlist
    Regards its characters with affectionate detachment, and assures its audience that no great calamities or revelations are in store. Instead, there are a series of small crises and tiny epiphanies, all adding up to a story that courts triviality in its pursuit of charm.
  8. The Express
    If a movie of this kind didn't traffic in overstatement, it wouldn't be doing its job, which is to provide a strong dose of simple, rousing emotion.
  9. Pray the Devil Back to Hell
    Uplifting, disheartening, inspiring, enraging -- the mind reels while watching the documentary Pray the Devil Back to Hell, even as the eyes water, the temples pound and the body trembles.
  10. The Betrayal - Nerakhoon
    The result is imperfect, but its roughness is entirely consistent with the way the filmmakers understand the traumatic experiences of displacement, loss and deprivation.
  11. Four Christmases
    Refreshingly tart and lean, forgoing the usual schmaltz and syrup.
  12. Timecrimes
    The Spanish writer and director Nacho Vigalondo has audacity to spare. Constructing a looping, economical plot and directing like a fire marshal in a flaming building, he conjures urgency and disorientation from the thinnest of air.
  13. The Tale of Despereaux
    A pleasantly immersive, beautifully animated, occasionally sleepy tale.
  14. Last Chance Harvey
    There’s something irresistible about watching two people fall in love, even in contrived, sniffle- and sometimes gag-inducing films like Last Chance Harvey.
  15. Just Another Love Story
    It may not go anywhere in particular, but it is as exciting as a trip through a well-equipped, scary fun house.
  16. The Last House on the Left
    Replacing the earlier movie's more depraved sequences with sustained tension and truly unnerving editing, the director proves adept at managing mayhem in cramped spaces.
  17. Fados
    This veteran Spanish director has, in his latest, created both a tribute to an art form and a performance archive.
  18. Sherman's Way
    The director, Craig Saavedra, generates surprising warmth from the familiar tropes of the odd-couple road movie. Shooting mostly in the verdant sweep of California's wine country -- and with a superb supporting cast -- he allows Mr. Le Gros room to engage.
  19. Tokyo!
    Both in its parts and in the sum of them Tokyo! is playfully and sometimes disorientingly apocalyptic.
  20. Frost/Nixon
    Stories of lost crowns lend themselves to drama, but not necessarily audience-pleasing entertainments, which may explain why Frost/Nixon registers as such a soothing, agreeably amusing experience, more palliative than purgative.
  21. The Escapist
    Shapes a standard prison-break drama into a metaphysical study of freedom and reparation.
  22. Dragonball: Evolution
    May or may not appeal to fans of the Japanese fantasy franchise it is based on, but aficionados of apocalyptic teenybopper kung fu extravaganzas are in for a real treat.
  23. Hannah Montana: The Movie
    It's just as awesome as the tv show only bigger and prettier.
  24. Earth
    This is nature defanged and declawed for kiddie consumption, so the emphasis is on awwww-filled moments.
  25. Fighting
    Not everything that happens in Fighting entirely makes sense -- it’s a fable, after all, and a fable doesn't necessarily have to -- but it breathes with a rough, exuberant realism that you rarely see in movies of its kind.
  26. Throw Down Your Heart
    The gentle, upbeat documentary Throw Down Your Heart chronicles the African pilgrimage of the American banjo virtuoso Béla Fleck in search of the origins of his chosen instrument.
  27. Three Monkeys
    Good pulp depends, above all, on a ruthless sense of economy, and Three Monkeys is just a bit too profligate, too fancy, to be entirely convincing.
  28. Rudo y Cursi
    While the film is lively and engaging, it also, in the end, feels a little thin, largely because it is unsure of how earnestly to treat its own lessons about fate, ambition and brotherly love.
  29. O'Horten
    O'Horten is about frustration, patience, kindness and the wildness that lurks in even the calmest hearts. What's odd about that?
  30. Jerichow
    No one in Jerichow is entirely deserving of sympathy, which gives the film a detached, clinical feeling underlined by the director’s habit of observing emotions rather than evoking them.
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