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. Death in Love
    Death in Love hasn't a drop of humor or hope. Its dull, smudged look makes every environment appear joyless and claustrophobic.
  2. Homecoming
    Homecoming is coldly efficient for what it is. But what it is is trash.
  3. Off Jackson Avenue
    The lives of Olivia, Tomo, Milot and Joey converge in a climactic chase sequence as frantic as a Keystone Cops movie. By this time, grim realism has curdled into bleakly absurdist farce.
  4. Harry Potter and the Half-Blood Prince
    Much like its young hero, played by Daniel Radcliffe, the film has begun to show signs of stress around the edges, a bit of fatigue, or maybe that’s just my gnawing impatience.
  5. Somers Town
    An agreeable if slight, vaguely sketched character study times two.
  6. Bruno
    In spite of Mr. Baron Cohen and Mr. Charles’s high-level skills and keen low-comic instincts, Brüno is a lazy piece of work that panders more than it provokes.
  7. Humpday
    The movie’s unblinking observation of a friendship put to the test is amused, queasy making, kindhearted and unfailingly truthful.
  8. Blood: The Last Vampire
    Suffers from abusive close-ups, repetitive fight sequences and uninspired demon design.
  9. I Love You, Beth Cooper
    Drab and incoherent teen comedy.
  10. Soul Power
    Soul Power, as aptly and succinctly titled a movie as I have ever seen, takes you to a place where the discipline that produces great popular art is indistinguishable from the ecstasy that art creates.
  11. Yoo-Hoo, Mrs. Goldberg
    The film could be described as Exhibit A in a study of media celebrity and collective forgetfulness in the age of information overload.
  12. Lake Tahoe
    Exquisitely captured in natural light by the cinematographer Alexis Zabé, Juan’s journey is framed by sherbet-colored houses and lemon sidewalks, dipping palm fronds and a burnished, turquoise horizon. The director calls his style "artisan cinema"; I just call it dreamy.
  13. I Hate Valentine's Day
    You might blame Nora Ephron, whose screenplay for “When Harry Met Sally” established the formula that I Hate Valentine’s Day runs into the ground. Compared with this, Ms. Ephron is Chekhov.
  14. The Girl from Monaco
    If in the end the film is neither a cogent psychological thriller nor an effervescent sex comedy, it does at least have an interesting sense of place.
  15. Tony Manero
    More than an indelible portrait of a sociopath with the soul of a zombie, Tony Manero is an extremely dark meditation on borrowed cultural identity.
  16. The Beaches of Agnès
    The images are as delightful, unexpected and playfully uninhibited as Ms. Varda, perhaps the only filmmaker who has both won the Golden Lion at the Venice Film Festival and strolled around an art exhibition while costumed as a potato (not at the same time).
  17. Public Enemies
    A grave and beautiful work of art.
  18. Ice Age: Dawn of the Dinosaurs
    Couldn't the creative minds at the 20th Century Fox animation studios, hoping to wring a few hundred million dollars more out of their prized family-animation franchise, have come up with something more original?
  19. The Hurt Locker
    The best nondocumentary American feature made yet about the war in Iraq.
  20. My Sister's Keeper
    My Sister’s Keeper takes on a very tough subject -- and has, in Anna and Kate, two pretty tough characters played by strong young actresses -- but ultimately it is too soft, too easy, and it dissolves like a tear-soaked tissue.
  21. Afghan Star
    The movie uses the talent show Afghan Star as a prism through which to examine the fragmented tribal culture of Afghanistan as reflected in the backgrounds of four finalists (two of them women) and the public responses to their performances.
  22. Chéri
    There's something poignant about the image of this actress (Pfeiffer) sitting in a pool of sunlight without a smile or trace of visible makeup. But she's trying to reach a character that her director seems intent to keep from her grasp.
  23. The Stoning of Soraya M.
    Thoroughly blurs the line between high-minded outrage and lurid torture-porn.
  24. Surveillance
    It seems doubtful that Surveillance, a would-be transgression that tries to squeeze dark laughs from the spectacle of human suffering, would be taking up space in theaters if its director were not the daughter of a name filmmaker.
  25. Quiet Chaos
    Thankfully, Mr. Grimaldi and the screenwriters have no great lessons to impart or messages to deliver, and the film, while uneven -- sometimes too on the nose, sometimes anecdotal and diffuse -- is generally absorbing, thanks mostly to the quality of the acting.
  26. Transformers: Revenge of the Fallen
    The man (Bay) just wears you out and wears you down, so much so that it’s easy to pretend that you’re not ingesting 2 hours and 30 minutes of warmongering along with all that dumb fun.
  27. Whatever Works
    None of it works. Or it works too hard. Whatever.
  28. The Proposal
    Ms. Bullock, who excels at playing spunky, is as appealing as usual, but the role proves as awkward as those heels.
  29. Year One
    A thoroughly, sometimes gaggingly broad and sly conceptual laugh-in.
  30. $9.99
    Though $9.99 manages to be quirky and enigmatic, it is in the end too self-conscious, too satisfied in its eccentricity, to achieve the full mysteriousness toward which it seems to aspire. It is odd, curious, intermittently intriguing but ultimately more interesting for its artifice than for its art.
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