The New York Times' Scores

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For 20,335 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: 9,412 out of 20335
  2. Mixed: 8,455 out of 20335
  3. Negative: 2,468 out of 20335
20335 movie reviews
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  1. My Week with Marilyn
    Ms. Williams tries her best, and sometimes that's almost enough.
  2. The Muppets
    The rainbow connection is a smooth, unbroken arch.
  3. Garbo: The Spy
    Edmon Roch has a great story to tell in Garbo the Spy, and he recounts it with the flair of a Hollywood spy movie: "Garbo" is dramatic, entertaining, even funny in parts.
  4. Silver Tongues
    Filled with joyless people in drab rooms (Josh Silfen's grubby cinematography doesn't make things any cheerier), Silver Tongues takes a novel idea and uses it to jerk us around. Swirling with unease, its scenes set us up for a payoff that never materializes and strand its actors in a bitter present.
  5. In Heaven Underground: The Weissensee Jewish Cemetery
    The sense of place may be expected, but it's also poetic and exquisite.
  6. Dzi Croquettes
    If the film doesn't measure up as a piece of historical scholarship, it does manage to be a rather touching exploration of the troupe's life cycle: achieving notoriety, then being torn apart by fame, then being destroyed by forces beyond its control.
  7. The Greater Good
    This emotionally manipulative, heavily partial look at the purported link between autism and childhood immunization would much rather wallow in the distress of specific families than engage with the needs of the population at large.
  8. The Lie
    Comprising small, near-perfect scenes played out largely at dinner tables and on couches, The Lie wonders if it's possible to rewrite lives and remake choices.
  9. Another Happy Day
    Like its recent forerunners, "Rachel Getting Married" and "Margot at the Wedding," Another Happy Day is both anguished and histrionic and in its strongest moments very, very good. But it is also overpopulated, strident and constitutionally unable to step back and scrutinize itself.
  10. The Heir Apparent: Largo Winch
    About halfway through, the wheeling and dealing becomes so elaborate and the villains so numerous that the only way to enjoy the movie is to let its preposterous story wash over as you sit back and take in the scenery.
  11. Rid of Me
    An ingenious black comedy written and directed by James Westby, comes at you like a horror movie before settling down into something quieter but equally skin crawling.
  12. Happy Feet Two
    An amiable sequel with not much on its mind other than funny and creaky jokes, and waves of understated beauty.
  13. Tyrannosaur
    The characters are trapped, suffocated, pushed through a story that gives them very little room or time to figure themselves out, and that finally turns their feelings into the wan stuff of fable.
  14. Eames: The Architect & The Painter
    The most gratifying thing about "Eames" is that it shows, in marvelous detail, how their work was an extension of themselves and how their distinct personalities melded into a unique and protean force.
  15. The Twilight Saga: Breaking Dawn - Part 1
    The latest and best of the movies about a girl, her vampire and their impossible, ridiculously appealing - yes, I surrendered - love story.
  16. Tomboy
    The story that emerges is programmatic and largely unsurprising, but these children give it messiness, joy and life.
  17. The Descendants
    To call The Descendants perfect would be a kind of insult, a betrayal of its commitment to, and celebration of, human imperfection. Its flaws are impossible to distinguish from its pleasures.
  18. God's Fiddler: Jascha Heifetz
    The film, though generous with doses of Heifetz in performance, isn't entirely successful at illuminating the man.
  19. A Novel Romance
    Steve Guttenberg is probably supposed to be a lovable loser in A Novel Romance, a drab, clumsy film by Allie Dvorin, but he can manage to be merely annoying. Mr. Guttenberg, though, deserves only part of the blame for this unrewarding movie.
  20. Barbershop Punk
    An engaging, provocative documentary.
  21. The Greening of Whitney Brown
    As she learns the value of public schools and pickup trucks, her erstwhile friends in Philadelphia seem happy to be rid of her. By movie's end, you'll feel exactly the same.
  22. London Boulevard
    Cultivation and fine manners are nowhere to be found in the foul urban cesspool of William Monahan's London Boulevard. This palpitating mess of a movie certainly doesn't lack for pungent atmosphere.
  23. Dog Sweat
    Dog Sweat (the title is slang for alcohol) is surprisingly polished, the young actors warmly believable despite being restricted by the film's narrow focus.
  24. Inni
    The best concert films achieve a marriage of sound and image that feels effortlessly harmonious, and in that regard Inni, a musical portrait of the Icelandic band Sigur Ros, leaves most of its genre in the dust.
  25. Jack and Jill
    There are a few funny moments in Jack and Jill, most of them celebrity cameos that also serve to affirm what a cool, connected celebrity Mr. Sandler is. The most sustained of these is the appearance of Al Pacino as himself, falling for Jill and giving the film a jolt of genuine zaniness. I'm sorry to say that this may be Mr. Pacino's most convincing performance in years.
    • 46 Metascore
    • 20 Critic Score
    Immortals
    Immortals is the latest disaster of post-conversion 3-D, a projected spectacle so dark it is literally hard to see. This is an ugly, burlap sack of a film, stitched with jagged seams and overstuffed with computer-generated chintz, gold-lamé leotards and fetishistic headgear.
  27. The Love We Make
    Captured mostly in gorgeous black and white, The Love We Make is alternately trite, touching, funny and fascinating.
  28. The Conquest
    The movie, which begins with Mr. Sarkozy's election-night victory in May 2007, only intermittently rises above the tone of an arch, sniping drawing-room comedy peopled with mild caricatures.
  29. Letters from the Big Man
    The woman in Christopher Munch's lovely, delightfully idiosyncratic Letters From the Big Man, resplendent with its own dense forests and cloudy Oregon days, has already fallen to earth and is looking for a way back up or maybe just forward. She gets help from a sasquatch.
  30. Elite Squad: The Enemy Within
    The carnage, although explicit and frequent, is not grotesquely overdone. But except for Mr. Moura's Nascimento, the movie doesn't have the same richness of characters. Psychologically he is the whole show; the rest are stereotypes.
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