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. New World Order
    An unrelentingly tedious documentary.
  2. Night at the Museum: Battle of the Smithsonian
    Shallow and harmlessly diverting picture.
  3. Dance Flick
    Its belly laughs leave you feeling liberated and not guilty; I repeat, not guilty.
  4. The Boys: The Sherman Brothers' Story
    Comprehensive, fulfilling film.
  5. Terminator Salvation
    It parades neither the egghead aspirations of "Star Trek" nor the thick-skulled pretensions of "X-Men Origins: Wolverine," but instead feels both comfortable with its limitations and justly proud of its accomplishments.
  6. Burma VJ: Reporter i et lukket land
    A rich, thought-provoking film.
  7. Summer Hours
    In spite of its modest scale, tactful manner and potentially dowdy subject matter, is packed nearly to bursting with rich meaning and deep implication.
  8. The Brothers Bloom
    As much as you admire the stagecraft and the technical skills on display, when all is said and done, that's all it is: a fancy, not-quite-two-hour stunt.
  9. Angels & Demons
    This movie, without being particularly good, is nonetheless far less hysterical than "Da Vinci."
  10. Big Man Japan
    The most impressive special effect here is Mr. Matsumoto's hilariously restrained performance, a tour de force of comedic concision in a movie bloated by increasingly surreal developments.
  11. The Big Shot-Caller
    The characters' quirks lend The Big Shot-Caller a certain authenticity, and it is easy to empathize with Mr. Rhein's Lonely Guy in the City. But this minuscule indie variation of "Saturday Night Fever" moves only in fits and starts. When it ends on a cautiously upbeat note, you feel that you have seen just the stumbling first act of an unfinished drama.
  12. Jerichow
    No one in Jerichow is entirely deserving of sympathy, which gives the film a detached, clinical feeling underlined by the director’s habit of observing emotions rather than evoking them.
  13. Management
    Mike may be a bumbling sad sack, but Mr. Zahn gives him just enough spunky appeal to lend this unlikely fly-by-afternoon coupling and its consequences a shred of credibility.
  14. Adoration
    A profound and provocative exploration of cultural inheritance, communications technology and the roots and morality of terrorism, the Canadian filmmaker Atom Egoyan nimbly wades into an ideological minefield without detonating an explosion.
  15. Julia
    Ms. Swinton demands to be seen even when her character is on a self-annihilating bender so real that you can almost smell the stink rising off her. So I sat in my seat, cursed the screen and was grateful to watch an actress at the height of her expressive power claw toward greatness.
  16. Little Ashes
    A painfully sincere study in creative passion, sexual ardor and political zeal that embalms a mad and exuberant historical moment within the talky, balky conventions of period-costumed highbrow soap opera.
  17. Next Day Air
    With a script that snaps, characters that pop, a blaze of streetwise attitude and enough firepower to pulverize a significant chunk of South Philadelphia, Next Day Air nears neo-blaxploitation perfection. Good things come in strange packages.
  18. Outrage
    Mr. Dick, whose previous documentaries have examined sexual abuse in the Roman Catholic Church, the inner workings of the movie ratings system and the life and work of the French philosopher Jacques Derrida, is a cerebral muckraker. While his techniques are not as nakedly tendentious as Michael Moore’s (and his movies, as a consequence, are not as much fun), he hardly pretends to be a detached or unbiased observer.
  19. Rudo y Cursi
    While the film is lively and engaging, it also, in the end, feels a little thin, largely because it is unsure of how earnestly to treat its own lessons about fate, ambition and brotherly love.
  20. Star Trek
    Isn't just a pleasurable rethink of your geek uncle's favorite science-fiction series. It's also a testament to television's power as mythmaker, as a source for some of the fundamental stories we tell about ourselves, who we are and where we came from.
  21. The Limits of Control
    A nondramatic work best appreciated as a pure image-and-sound event.
  22. Revanche
    The characters and situations are interesting enough, and the filmmaking is sufficiently skilled to provide a measure of reasonably thoughtful entertainment.
  23. X-Men Origins: Wolverine
    X-Men Origins: Wolverine will most likely manage to cash in on the popularity of the earlier episodes, but it is the latest evidence that the superhero movie is suffering from serious imaginative fatigue.
  24. A Wink and a Smile
    It's all good clean fun; the movie is well intentioned to a blandly feminist fault. Just as burlesque loses most of its oomph when put on video -- no art is more dependent on the intimacy of live performance -- self-esteem trips are less compelling to hear about than to experience firsthand.
  25. Battle for Terra
    The movie's messages are delivered with a heavy hand, but some of the scenes are eye-popping, especially -- sorry, peace-loving Terrians -- the battle sequences.
  26. Ghosts of Girlfriends Past
    A junky-looking romantic comedy that’s neither remotely romantic nor passably comic.
  27. The Merry Gentleman
    The film’s title, needless to say, has an ironic bite. One of the pleasures of The Merry Gentleman is Mr. Keaton's commitment to that bite, which never registers as cruel or gratuitous, just honest, weary, sad.
  28. Three Monkeys
    Good pulp depends, above all, on a ruthless sense of economy, and Three Monkeys is just a bit too profligate, too fancy, to be entirely convincing.
  29. Home
    For all its honesty, Home has only the most tentative narrative coherence. It's a collection of beautifully acted fragments that leave you longing for a story to connect them. The pretty but rather shallow poetry doesn't begin to do the job.
  30. The Skeptic
    The Skeptic turns into a cut-and-dried Freudian melodrama that gives repressed memory a supernatural dimension. I'll take a bunch of teenagers terrorized by chain-saw-wielding zombies any day.
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