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. Miral
    To say that Mr. Schnabel's film is innocuous is not to say that it's any good. Like so many other well-intentioned movies about politically contentious issues, it is hobbled by its own sincerity and undone by a confused aesthetic agenda.
  2. Illegal
    One problem is that while Mr. Masset-Depasse frames Tania's status in vague political terms, he doesn't make an argument. Instead he creates heroes and villains in what is, by turns, a prison flick, a psychological thriller and a maternal melodrama.
  3. Mia and the Migoo
    Trying to parse meaning in "Mia" is secondary to its main point, which is its look, created with 500,000 hand-drawn frames. That's impressive in an age in which most mainstream animation is done with computers.
  4. Peep World
    A family circus of dysfunction that's so familiar you may feel tempted to place bets on how everything will shake out.
  5. Sucker Punch
    There is nothing here to enjoy, beyond the tiny satisfaction in noting that the movie lives up to its name.
  6. My Perestroika
    My Perestroika gives you a privileged sense of learning the history of a place not from a book but from the people who lived it. Watching it is a little like attending a party in an unfamiliar city and discovering the place's secrets from the guests.
  7. The Gift to Stalin
    Immersed in the alien beauty of the Kazakh steppe, "The Gift to Stalin" moves slowly but engages thoroughly.
  8. Making the Boys
    Captivating documentary about the creation of, and reaction to, the breakthrough play "The Boys in the Band."
  9. Lord of the Dance in 3D
    The excitement factor only intermittently carries from the arena to the screen.
    • 76 Metascore
    • 90 Critic Score
    Bill Cunningham New York
    If the film suggests that there's something bittersweet about a life dedicated to a single pursuit cultivated with an almost religious fervor, it also stands in awe of its subject's seemingly inexhaustible, self-abnegating capacity to remain attuned to the expression of others.
  11. Cracks
    In many ways Cracks is lurid and rickety. But its gripping ensemble performances lend it an emotional intensity that outweighs its shortcomings.
  12. Winter in Wartime
    Winter in Wartime turns into a moderately gripping thriller with predictable plot twists and reversals.
  13. Nostalgia for the Light
    The film's passionate insistence on remembrance lends it a moral as well as a metaphysical weight. Mr. Guzmán's belief in eternal memory is an astounding leap of faith.
  14. The Lincoln Lawyer
    There are modest pleasures in a familiar story told differently enough that you're happy to keep guessing and watching.
  15. Win Win
    Win Win goes a bit soft in places, protecting its characters from serious danger or tough moral reckoning. But the film's niceness is also central to its appeal, because nearly all of the characters are people you enjoy spending time with.
  16. Paul
    While Paul seems great conceptually, he's not particularly interesting or surprising.
  17. Limitless
    An energetic, enjoyably preposterous compound - it's a paranoid thriller blended with pseudo-neuro-science fiction and catalyzed by a jolting dose of satire.
  18. The Desert of Forbidden Art
    The filmmakers found an appealing collection of relatives and others who knew these artists and Savitsky to tell the story, but they also let the art do the talking, with loving, lingering shots of the brightly colored works.
  19. Kill the Irishman
    An extravagantly corny ode to the collapse of the Cleveland mafia in the 1970s.
  20. Mars Needs Moms
    It seems that it's time to admit that dressing actors in LED-studded catsuits, asking them to give performances on sterile white sets and handing the results to a team of computer animators is not a way to make a good movie.
  21. Brotherhood
    The script, by Mr. Canon and Doug Simon, eventually strains credulity - even frat boys aren't this dumb - but Mr. Canon, in his first feature, shows a great knack for keeping things moving. The gathering implausibility is dispelled by a nice ending twist.
  22. Black Death
    Here, excessive piety and rampant paganism are equally malevolent forces, the film's baleful view of human nature mirrored in Sebastian Edschmid's swampy photography. As is emphasized in a nicely consistent coda, the Lord's side and the right side are not necessarily one and the same.
  23. Elektra Luxx
    Elektra Luxx has some scattered witty notions, but it is not funny.
  24. 3 Backyards
    Mr. Mendelsohn's ability to evoke a child's-eye view of a suburban environment is the most seductive element in a movie whose primary attraction is an atmosphere so heady that you can almost taste it.
  25. Monogamy
    With modest resources, some nice digital camerawork and an appealing cast - the likable Ms. Jones draws you in easily - Mr. Shapiro keeps you engaged even when his story falters.
  26. Certified Copy
    The Iranian filmmaker Abbas Kiarostami's delicious brain tickler, Certified Copy, is an endless hall of mirrors whose reflections multiply as its story of a middle-aged couple driving through Tuscany carries them into a metaphysical labyrinth.
  27. Battle: Los Angeles
    As it lurches from Act II to Act III, Battle: Loss Angeles reveals itself to be a lousy movie.
  28. Foreign Parts
    People talk but don't say too much, and as curious and thorough as Ms. Paravel and Mr. Sniadecki are - Foreign Parts is the result of many months of patient filming - they are too polite to pry. But their tact adds to the richness of their film, which discovers a busy, complicated world within the space of few unlovely city blocks.
  29. Red Riding Hood
    My, what sharp teeth Ms. Hardwicke doesn't have: working from David Leslie Johnson's screenplay she takes on the story's grown-up themes of sex and death directly but weakly.
  30. Jane Eyre
    A splendid example of how to tackle the daunting duty of turning a beloved work of classic literature into a movie. Neither a radical updating nor a stiff exercise in middlebrow cultural respectability, Mr. Fukunaga's film tells its venerable tale with lively vigor and an astute sense of emotional detail.
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