The New York Times' Scores

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:
20324 movie reviews
  1. In simple, blunt language he exalts "quality," "warmth," "feeling," "truth" and "beauty," without trying to define or elaborate on those concepts.
  2. Once the film softens, it starts to come unglued.
  3. This is by no means the best movie of the year, but it may be the most movie you can get for the price of a single ticket.
  4. Paranormal Activity 4 will please the fans, and that should sustain this low-budget, highly profitable franchise.
  5. The delightfully playful, playfully imaginative Grand Amour was directed by Pierre Etaix, a filmmaker, illustrator, musician and clown whose major work and poetic melancholia has long been denied to filmgoers.
  6. Though at times a tad worshipful, the film's tone is ultimately more awed than hagiographic, its commenters too cleareyed and candid to back away from negative publicity or public disenchantment.
  7. Ms. Letourneur's film also bears a rare, even strange, stamp of authenticity.
  8. This may not be a fuzzy wuzzy, warm-and-cuddly song to animals, but in revealing the everyday, sometimes repellent surrealism of the park - where zebras, elephants, camels and ostriches walk among slowly moving cars, and lions bang wildly against their small cages - he forces you to look at the often unseen. It may not be pretty, but it is essential viewing.
  9. Yogawoman, with narration enunciated by the actress and yogini Annette Bening, begins with an intriguing premise: yoga, historically a practice dominated by men in India, now occupies a mat-carrying slot on women's schedules the world over. That idea remains anthemic more than analyzed, and doing yoga proves more appealing than watching a film promote it.
  10. This scattershot investigation of the effects of Internet pornography on female behavior only ruffles the surface of a complex issue, one that demands a much larger sample than three white, educated women.
  11. Its tepid satire of art world pretensions culminates with a visual dirty joke that is mildly amusing but still not worth the wait.
  12. If the characters are likable enough, they are underdeveloped and have little of the quirky individuality or dimension of the adventurous seniors portrayed in the superior (but sugarcoated) movie "The Best Exotic Marigold Hotel." For a truthful film about those final years, you'll have to wait for Michael Haneke's heartbreaking masterpiece "Amour," which is to open in December.
  13. In the end the issues of anti-Semitism and anti-Zionism are conflated, weakening the filmmaker's argument. Ultimately the varying points are way too much to take on in one film.
  14. It would be tempting to dismiss Nobody Walks as a trivial erotic divertissement, even more so because it doesn't apply the kind of symbolic gloss found in a '60s film of serial seduction, like Pasolini's "Teorema." Banal as its situation may be, it picks at every scab you may have left over from wounds suffered during the mating games of your youth.
  15. A film that begins as a family quest but evolves into a gripping study of know-don't-tell reticence and the umbilical tie of a lost homeland.
  16. The film is most illuminating in showing how democratic practice can still find a new voice and innovative means with each generation. The fascinating efforts of Anonymous can be messy, but so are many freedoms when asserted so boldly.
  17. It's deeply satisfying watching these public school, hard-knock kids win, and Ms. Dellamaggiore knows it.
  18. An unpleasant comedy about friendship, aims to be a female twist on the bromance. Crude and knockabout, it nonetheless has - like many a bromance - a sloppy, sentimental heart.
  19. Some viewers will be frustrated by the film's determination to be evenhanded, but with this same battle likely to be fought repeatedly in the coming years (the issue is again on the 2012 Maine ballot), Question One stands as a pretty good primer in how referendums are won and lost.
  20. Sure, you've seen this story before, but this version has a freshness nonetheless.
  21. Fast and mostly fun, the movie also seems compulsively too much, throwing everything it can think of at you, lest it fail to entertain.
  22. The Sessions is a pleasant shock: a touching, profoundly sex-positive film that equates sex with intimacy, tenderness and emotional connection instead of performance, competition and conquest.
  23. A grim, dispiritingly stupid waste of time, energy, money and talent.
  24. The producers are going to have to hire a better director if they want moviegoers to be curious enough about this Galt guy to buy a ticket for the presumptive third and final chapter.
  25. Partly reverent, mostly sendup, Just 45 Minutes From Broadway depicts theater folk as those lovably quirky people who can't stop performing in life, for better or worse. This film might be perfect for a preteen acting camp, or anyone whose eyes have that glowing, cultlike spark of the stage-obsessed.
  26. It's a gift for moviegoers to have this much freedom, and exhilarating. In Holy Motors you never know where Mr. Carax will take you and you never know what, exactly, you're to do once you're there.
  27. There is no mistaking Mr. Bugliosi's conviction, nor the thoroughness of his research, which largely concerns the Bush administration's claims of Iraqi weapons of mass destruction.
  28. Even political foes agree here on today's parlous state of disagreement, leaving you keen to vote but feeling a little defeated already.
  29. A lumbering mess in which he has somehow trapped several recognizable actors.
  30. To succeed as more than a study in artifice, a film - especially one steeped in fatalism - needs to feel real.

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