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. The Universe of Keith Haring
    A loving if routine primer on this bright young man.
  2. Fear(s) of the Dark
    Shot in luminous whites, pulsing blacks and gorgeous grays, the stories explore sexual insecurity, rural superstition and sociopolitical anxieties with an inventiveness that's seldom scary but never less than mesmerizing.
  3. Stranded: I've Come from a Plane That Crashed on the Mountains
    Gonzalo Arijón’s documentary offers an incontrovertible argument for the necessity of team spirit in the face of catastrophe.
  4. W.
    The pleasure of Mr. Stone's work has never been located in restraint but in excess, a commitment to extremes that can drown out the world or, as in this film, give it newly vivid, hilarious and horrible form.
  5. The Elephant King
    Tells a colorful if conventional tale of dysfunctional Americans abroad. The misadventures of Jake and Oliver play off against the conflicted sympathies of the locals, who simultaneously resent, enjoy, prosper from and exploit the tourist scene.
  6. Filth and Wisdom
    Not that Madonna has gone in for originality, which isn't really her thing: rather, instead of repurposing a genre, she has riffled through the art-house catalog for inspiration, as evidenced by the film's intentionally grubby visual texture, jumpy editing, direct-address commentary, freeze frames and other tricks.
  7. Max Payne
    Max’s righteous anger finds various allies and targets, though it is not always clear who is which. They are played by Mila Kunis, Beau Bridges and Ludacris with just enough panache and expressiveness to uphold the (increasingly irrelevant) distinction between a movie and a video game.
  8. Morning Light
    Like the disastrously overpopulated "Amazing Race: Family Edition," Morning Light never finds a way to make us care who wins.
  9. The Secret Life of Bees
    The film insists so strenuously on its themes of redemption, tolerance, love and healing that it winds up defeating itself, and robbing Ms. Kidd’s already maudlin tale of its melodramatic heat.
  10. Sex Drive
    The sweetheart leads, Josh Zuckerman and Amanda Crew, are easy to spend time with, and Seth Green as an Amish hipster and Clark Duke as an unlikely lady-killer hit every sweet-and-sardonic note with panache.
  11. Mary
    A convoluted, hysterical mess of a movie with grandiose spiritual airs and not a drop of humor.
  12. Frontrunners
    Polite, detached documentary in which there are no highs or lows. Politically and emotionally, the movie's thermostat remains at medium cool.
  13. Body of Lies
    As it is, the movie is a hodgepodge of borrowings and half-cooked ideas, flung together into a feverishly edited jet-setting exercise in purposeless intensity.
  14. Breakfast with Scot
    For its courage to address a ticklish subject with warmhearted humor, Breakfast With Scot, adapted from a novel by Michael Downing, deserves a light round of applause.
  15. City of Ember
    At only 95 minutes, the movie feels as though it had been shredded in the editing room. In Hollywood-speak, it has a weak second act.
  16. The Express
    If a movie of this kind didn't traffic in overstatement, it wouldn't be doing its job, which is to provide a strong dose of simple, rousing emotion.
  17. Good Dick
    Good Dick surmounts its indie-movie quirkiness with exceptional acting and a sincere belief in the salvation of its wounded characters.
  18. Happy-Go-Lucky
    Mr. Leigh has never been an artist for whom happy (word or idea) has been an easy fit. Life is sweet, as the title of another of his films puts it with a heart-swelling yes, but it’s also an eternal fight against doom and gloom, the soul-crushing no.
  19. Quarantine
    The template is familiar, but Quarantine delivers the heebie-jeebies with solid acting and perfectly calibrated shocks.
  20. Choose Connor
    What makes the journey compelling is the relaxed chemistry between the young actors and an insistently apprehensive tone that pervades even the most prosaic exchanges.
  21. Nights and Weekends
    The problem with the movie is that James and Mattie exhibit little but shallow, infantile neurosis, with next to no hint of a complex -- or even legible -- inner life.
  22. RocknRolla
    Like the filmmaking itself, the violence has no passion, no oomph, no sense of real or even feigned purpose.
  23. Rachel Getting Married
    It’s a small movie, and in some ways a very sad one, but it has an undeniable and authentic vitality, an exuberance of spirit, that feels welcome and rare.
  24. Religulous
    Much of Mr. Maher's film is extremely funny in a similarly irreverent, offhanded way. Some true believers -- at least those who have a sense of humor about their faith -- may even be amused. But most will not.
  25. Beverly Hills Chihuahua
    As multimillion-dollar frivolities about the pets of the ruling class go, Chihuahua is reasonably diverting. As one that happens to be opening in the middle of an economic meltdown, its mere existence feels utterly insane.
  26. Blindness
    Not a great film, mainly because it can't transcend -- and, indeed, lays bare -- the intellectual flimsiness of its source. But it is, nonetheless, full of examples of what good filmmaking looks like. For all its chin-rubbing, brow-furrowing attitudes, it does not, in the end, give you much to think about. But there is, nonetheless, a lot here to see.
  27. Flash of Genius
    It has the tone and texture of a well-made but forgettable television movie.
  28. An American Carol
    Cheap shots and mean spirits abound, as do celebrity cameos (James Woods, Jon Voight, Dennis Hopper, Kelsey Grammer). But it's the laziness of the writing that most offends.
  29. How to Lose Friends & Alienate People
    The crushingly unfunny and slopped-together How to Lose Friends & Alienate People has neither the ambition nor the intelligence to do justice to its source material.
  30. Nick and Norah's Infinite Playlist
    Regards its characters with affectionate detachment, and assures its audience that no great calamities or revelations are in store. Instead, there are a series of small crises and tiny epiphanies, all adding up to a story that courts triviality in its pursuit of charm.
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