The New York Times' Scores

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For 20,336 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: 9,413 out of 20336
  2. Mixed: 8,455 out of 20336
  3. Negative: 2,468 out of 20336
20336 movie reviews
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  1. Will You Still Love Me Tomorrow?
    Dutifully hitting its marks up to a point, this story of a married man struggling to stay closeted proves to have a maturity that eludes more overtly ambitious dramas on the subject.
  2. State 194
    This is certainly competent filmmaking, sort of like a long “60 Minutes” segment without the confrontational interview style.
  3. Sing Me the Songs That Say I Love You: A Concert for Kate McGarrigle
    As a musical experience, it is generous and moving. But as a documentary, “Sing Me the Songs” is an awkward hybrid of concert film and rock-star biography.
  4. Frankenstein's Army
    Narrative depth may be in short supply, but the energy, invention and humor are bracing.
  5. Becoming Traviata
    May not be fully satisfying as a documentary. But it has what any good movie needs: a star — the ever-game soprano Natalie Dessay.
  6. Kika
    Kika" is actually one of this film maker's more buoyant recent efforts, a sly, rambunctious satire that moves along merrily until it collapses -- as many Almodovar films finally do -- under the weight of its own clutter.
  7. Elemental
    The filmmakers behind Elemental might have done better to commit to a single portrait and been more fearless about avoiding familiar oratory, but small steps are progress too.
  8. The Best Man Holiday
    Mr. Lee’s film is more traditional than its sexually frank humor might indicate, with faith and charity ultimately given pride of place (right alongside human pettiness). But even if some of the crudeness and the drama feel forced, it’s hard to hate.
  9. Diana
    Anchored by Ms. Watts’s sympathetic performance, it humanizes the woman behind the smile, the helmet hair and the myth.
  10. A Field in England
    The actors are uniformly impressive, and Mr. Wheatley’s longtime cinematographer, Laurie Rose, shooting in black and white, combines stunning pastoral compositions with bursts of graphic violence punctuated by blazing flintlocks.
  11. Age of Uprising: The Legend of Michael Kohlhaas
    The severely beautiful film is painted in a dauntingly austere manner, as if lost in a war against itself, with confrontations underplayed and the rural landscapes making more of an impression than the detoured drama.
  12. Only Lovers Left Alive
    In many ways, Only Lovers Left Alive is among Mr. Jarmusch’s most voluptuous movies — full of rare and gorgeous images and sounds, heavy with wistful sighs and sprinkled with wry, knowing jokes — but it is also thin and pale, and perhaps too afraid of daylight for its own good.
  13. Free China: The Courage to Believe
    “Free China” is not news, and, however moving, it’s really not art. It’s advocacy. In that aim, it is ardently committed.
  14. Hey Bartender
    [A] tidy and ingratiating documentary ode to high-end mixologists.
  15. Kansas City
    If the movie, which uses blues-based Kansas City jazz as a raucous, nonverbal Greek chorus, lacks the emotional range of Mr. Altman's masterpiece, ''Nashville,'' it still has its own brawling vitality.
  16. Chungking Express
    While its slender, two-tiered plot links love affairs that happen largely by accident, the film's real interest seems to lie in raffish affectation. Mr. Wong has legitimate visual flair, but his characters spend an awful lot of time playing impish tricks.
  17. I Send You This Place
    Less a documentary than an experimental essay tapping age-old notions of the sublime, it’s a perplexing artifact that flirts with the banal yet moves with lovely intuitive rhythms.
  18. 100 Bloody Acres
    This fairly rote tale of rural ghouls and their passing-through prey has its own hick charm, mostly because of performers who never overplay their hands.
  19. How to Make Money Selling Drugs
    There’s a lot to learn from How to Make Money Selling Drugs, but sometimes there’s just a lot.
  20. Some Girl(s)
    There are a lot of truthful notes in Some Girl(s), but there are also false ones that let you know that you are being played with. You’d best beware.
  21. Chef
    [A] shallow but enjoyable all-American morality play.
  22. Three Worlds
    Each thread of the plot is followed to its dangling, ragged conclusion in a movie that may be painful to watch but that maintains a chilly integrity.
  23. Touchy Feely
    Its humor is softer and more ambiguous than that of Ms. Shelton’s earlier films, and its characters are harder to pin down.
  24. Indiana Jones and the Temple of Doom
    Watching it is like spending a day at an amusement park, which is probably what Mr. Spielberg and his associates intended. It moves tirelessly from one ride or attraction to the next, only occasionally taking a minute out for a hot dog, and then going right on to the next unspeakable experience.
  25. The Look of Love
    Had The Look of Love focused more acutely on the father-daughter relationship or explored Mr. Raymond’s relationships with his two sons, only one of whom appears briefly, it might have amounted to something more substantial than a keenly observed period piece that keeps a celebrity journalist’s distance from its subject.
  26. Creating Freedom: The Lottery of Birth
    On its own terms — setting aside the likelihood of knee-jerk political objections to its mission — it’s more convincing than many films pegged to specific causes.
  27. Homefront
    The movie is as blunt an instrument as the poster, but it’s also crammed with enough moving parts and unexpected distractions (Winona Ryder as a “meth whore”) to make it an indefensibly enjoyable piece of exploitation hackwork.
  28. Thanks for Sharing
    The movie never transcends a screenwriting formula that makes you uncomfortably aware of the machinery driving it all.
  29. Ghanchakkar
    The script, written by Mr. Gupta with Parveez Sheikh, has some engaging mysteries and witty payoffs. But the story is stretched too thin, blunting some of its more interesting ideas.
  30. Afternoon Delight
    Whether or not you wince, this meticulously acted movie, which won Ms. Soloway a directing award at the Sundance Film Festival, paints an accurate picture of how a segment of youngish, educated, affluent, white Americans converse. It is anything but inspiring.
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