The New York Times' Scores

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For 20,324 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: 9,408 out of 20324
  2. Mixed: 8,449 out of 20324
  3. Negative: 2,467 out of 20324
20324 movie reviews
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  1. I Used to Be Darker
    Mr. Porterfield might sometimes be too subtle for his own good, but by taking us on a low-key ramble through the ever-shifting feelings of a fractured family, he has woven a dreamy, detached chronicle of dissolution and renewal.
  2. A Wolf at the Door
    As a piece of storytelling, A Wolf at the Door may be a tawdry little shocker. But on a visceral level, it is a knife to the gut.
  3. The Last Day of August
    The film benefits from nice performances and nice work by Mr. DiFolco (making his directorial debut), even if the ending is not as psychologically complex as earlier scenes lead us to hope.
  4. Besharam
    Besharam is frequently crude, but it’s also unusually clean in its plotting. And it has a kind of unblushing vitality that is especially strong in the dance numbers, which feature big crowds, lots of color and an old-fashioned Bollywood desire to please.
  5. Design Is One
    The information-rich film is enlivened by the charm of the intelligent, eccentric couple at its heart.
  6. McConkey
    It’s not about why he was such a thrill-seeking risk-taker but about appreciating his success in living life on his own terms.
  7. Camille Claudel 1915
    Ms. Binoche’s portrayal of Camille is one of the most wrenching performances she has given.
  8. Hellbenders
    This movie has the humor and insouciant pileup of bizarre and disgustingly beautiful images of a cult classic on late-night cable.
  9. S#x Acts
    The movie’s observations of the wolf pack mentality of privileged teenage boys who view every conquest as proof of their prowess is casually devastating.
  10. Days of Grace
    Mr. Gout combines a slick, kinetic style with a somber ethical sense. His movie is flashy and entertaining, but also earnestly concerned with the collapse of trust and integrity at every level of society.
  11. Réquiem NN
    More a medium-length gallery piece than a feature, the movie can look a little rudimentary in presentation... But its subject is eternal.
  12. The New Black
    Ms. Richen elucidates an entire spectrum of views, from actively egalitarian to reactively homophobic.
  13. The Human Scale
    If the result sometimes feels like a sedate lecture, the global journey strongly enlivens the lesson; it’s fascinating how alike and how different cities can be, and more fascinating to imagine what they may become.
  14. Torn
    Slowly uncovering the prejudices that calamity can unleash, Michael Richter’s screenplay lays bare the damage wrought by Sept. 11 while deftly dodging hysteria, wondering how we differentiate between innocent teenage behaviors and dangerous red flags.
  15. Medora
    A mournful Midwestern ballad devoid of grace notes.
  16. Peaches Does Herself
    Feeling a little stage-bound because of frequent far-back long shots, the show can’t quite become a true extravaganza on screen. But Peaches — even without commanding the screen — shines through, vulnerability winning out over bravado here.
  17. The Taiwan Oyster
    Part romance, existential meditation and dark comedy, the film, like its perplexed characters, isn’t always certain of what it wants to be. Yet in the end it does pretty well for itself, despite those self-doubts.
  18. Shahid
    Mr. Mehta has done something difficult. He has made a film of conviction that’s neither plodding nor preachy.
  19. Remington and the Curse of the Zombadings
    The film’s questionable continuity, bargain-basement effects and overload of gay clichés may not be to everyone’s taste, but its queer-eye-for-the-undead-guy exuberance and warmth of spirit are irresistible.
  20. Not Yet Begun to Fight
    With their sensitive feature clocking in at an hour, the filmmakers make you wish only that they had developed their material further.
  21. The End of Time
    [Mr. Mettler’s] images of galaxies, mandalas, particle accelerators and glowing red lava become his real subjects. He uses music and sound to control the pace, to slow time, as if cinema were a form of enforced meditation.
  22. Running from Crazy
    This heart-wrenching and deceptively conventional documentary manages the tensions in its subject and in the vérité approach in a fruitful, illuminating and surprisingly moving way.
  23. Behind the Blue Veil
    The first half of Behind the Blue Veil makes a case for the noble cause of preserving a way of life; the second half admits its near-futility.
  24. The Ghosts in Our Machine
    The Ghosts in Our Machine is a compelling movie, but its argument expands without deepening.
  25. People of a Feather
    Interweaving Inuit life today with re-enactments of the culture 100 years ago, People of a Feather warmly portrays a cold, uncertain present and a worrying future.
  26. It's Me, It's Me
    Though the film is occasionally frustrating and confusing, the modern life it is commenting on is certainly that, too.
  27. 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.
  28. My Name Is Nobody
    My Name Is Nobody is terribly knowing. It has the manner of a buff who knows absolutely everything about a subject most other people haven't time for, but it's also very entertaining.
  29. The Motel Life
    The story may be slight, but the performances and ambience resonate.
  30. Approved for Adoption
    The movie is not always well unified and sequenced, but that seems to reflect Mr. Henin’s ambivalence over a past that’s like a book he is at once rereading and rewriting.
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