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. Do Knot Disturb
    Vulgar, noisy and excessive, Do Knot Disturb is a Bollywood sex farce with almost no sex, and comedy pitched so low you’re more likely to groan than giggle.
  2. L'ennemi intime
    The movie goes flat, though, when Mr. Siri and his co-writer, Patrick Rotman, shift their attention from the action to the moral math of guerrilla warfare.
  3. Where Is Where?
    Anyone looking for some idiosyncratic, visually stimulating entertainment this week could do worse than Where Is Where?, an intriguing narrative experiment by the Finnish artist and filmmaker Eija-Liisa Ahtila.
  4. The Horse Boy
    The film is not a primer on this heartbreaking condition. Instead it recounts a deeply personal, highly subjective and inarguably thought-provoking story of one family’s quest for a certain kind of peace.
  5. Surrogates
    In this kind of industrial entertainment, particularly one that seems to be missing some connective narrative tissue, it’s hard to know if the writers or the director can be credited or blamed for what’s left on screen.
  6. Paranormal Activity
    A crudely made, half-clever little frightener that has become something of a pop-culture sensation and most certainly the movie marketing story of the year.
  7. Pandorum
    According to the press notes, pandorum means “Orbital Dysfunctional Syndrome”; whatever that is, by the end of the movie I was convinced I had caught it.
  8. I Hope They Serve Beer in Hell
    A mediocre gross-out movie that barely pushes the envelope.
  9. Coco Before Chanel
    The blossoming of her ambition, as much as her love life, drives the story forward, and turns Coco Before Chanel into a costume drama worthy of the name.
  10. The Boys Are Back
    Has a burnished, high-quality look and a heart swollen with maudlin self-regard.
  11. Fame
    While the movie suffers from a surfeit of flash, it nonetheless offers the undeniable power of young performers pursuing art at peak dexterity.
  12. Blind Date
    The self-consciousness of the premise and the playlike structure of Blind Date clash with the naturalism of Mr. Tucci and Ms. Clarkson’s acting styles, and the film never lifts itself above its origin as a well-meaning, underdeveloped exercise.
  13. The Blue Tooth Virgin
    Starts out feeling a little too “inside Hollywood” and only grows more so as it rolls along. By the end, this small film about scriptwriters ends up being mostly for scriptwriters, despite appealing performances from the two leads.
  14. Brief Interviews with Hideous Men
    Compacted into an 80-minute mishmash of interviews, confessions and sketches, melded into a shaky mosaic, the answers from a cross section of men are shallow, self-serving and ultimately unenlightening.
  15. The Providence Effect
    More an infomercial than a movie, Rollin Binzer’s awed documentary is, at best, a well-earned tribute to one man’s unwavering vision and unrelenting hard work.
  16. Paradise
    Essentially a series of home movies, but home movies of a very high order.
  17. Capitalism: A Love Story
    Like most of his movies, Capitalism is a tragedy disguised as a comedy; it’s also an entertainment.
  18. Irene in Time
    Smothering insightful moments in verbal and musical treacle (courtesy of Harriet Schock’s sticky songs), Mr. Jaglom displays an endearing lack of cynicism but an equal lack of discipline.
  19. In Search of Beethoven
    The best thing about In Search of Beethoven, Phil Grabsky’s biography of the composer, is the company he brings along on the hunt.
  20. The Informant!
    It is Mr. Soderbergh’s insistence on seeing the A.D.M. scandal as a collective tragedy rather than as another white-collar crime that gives the movie force, resonance, feeling.
  21. Cloudy with a Chance of Meatballs
    If the filmmakers opt to make only light statements about junk food, obesity and solid waste, they at least leave the audience sated on a single serving of inspired lunacy.
  22. Love Happens
    The vital signs in Love Happens, a movie that feels likes a laboriously padded outline, are faint.
  23. Jennifer's Body
    The movie deserves -- and is likely to win -- a devoted cult following, despite its flaws.
  24. Paris
    There are enough intersecting characters from different classes and backgrounds in Paris to evoke the city as a complex, healthy organism, whose parts are all connected. If it is too lighthearted to show the actual political and economic machinery behind it, its celebration of how well that machinery works produces a pleasant afterglow.
  25. The Burning Plain
    Like his scripts for “21 Grams” and “Babel,” this one makes heavy use of happenstance and temporal displacement, and like them, too, it depends on ideas about human behavior that can only be called preposterous.
  26. Disgrace
    Mr. Malkovich is one of the few actors capable of conveying genuine intellectual depth.
  27. Fatal Promises
    It lacks focus and adds little to the awareness of the subject that even a casual follower of the news has already acquired.
  28. Fuel
    If you can resist the urge to run for the exit, you may leave the theater feeling a lot more hopeful than when you went in.
  29. If One Thing Matters: A Film About Wolfgang Tillmans
    It’s like choking down 72 minutes of a stranger’s unedited home videos, only without the occasional cute kiddie or pet to lighten the tedium.
  30. Harmony and Me
    Despite the film’s sketchy aesthetic and barely animate lead, its tone is carefully contrived: I’ll wager no one in your circle is as dryly funny or spontaneously surreal as Harmony’s nonsupport group.
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