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. Shine a Light
    As the director of the documentary Shine a Light, Martin Scorsese is a besotted rock ’n’ roll fan who wholeheartedly embraces its mythology.
  2. Water Lilies
    Water Lilies is a nice, watchable, attractive, minor work. What it lacks is a sense of purpose, a commitment not just to its characters but also to its own reason for being.
  3. Tuya's Marriage
    Mr. Wang and his screenwriting collaborator, Lu Wei (“Farewell My Concubine”), portray a world that, apart from its hardship, is thoroughly recognizable in its human complexity. Its characters are motivated by the same needs for companionship and material well-being and the same demons — greed, lust, jealousy and despair -- that drive everybody.
  4. Flawless
    A mildly diverting period heist movie.
    • 48 Metascore
    • 60 Critic Score
    Run, Fatboy, Run
    The kind of movie that’s apt to be dismissed a goofy lark. It is that. But it’s also a rare comedy that believes in its own message, and that could inspire the depressed and the demoralized to grit their teeth and keep running.
  6. 21
    Greed is good and comes without a hint of conscience in 21, a feature-length bore about some smarty-pants who take Vegas for a ride.
    • 32 Metascore
    • 40 Critic Score
    Chapter 27
    Except for Judah Friedlander’s earthy, funny work as a paparazzo, most of the performances are vague and dull, including Lindsay Lohan’s supporting turn as a fictional Beatles fan who befriends Mr. Chapman.
  8. The Cool School
    The Cool School, is, well, cool, but it’s also fairly parochial.
  9. My Brother Is an Only Child
    A lively minor addendum to the grand tradition of Italian fraternal cinema.
  10. Priceless
    The movie is an amusing ball of fluff that refuses to judge its characters’ amoral high jinks. Winking at the vanity of wealthy voluptuaries and hustlers playing games of tainted love, it heaves a sigh and says welcome to the human comedy.
  11. Stop-Loss
    Ms. Peirce’s movie, which she wrote with Mark Richard, is not only an earnest, issue-driven narrative, but also a feverish entertainment, a passionate, at times overwrought melodrama gaudy with violent actions and emotions.
  12. Superhero Movie
    No real mockery is intended by this harmless, mindless grab bag of slightly used gags, which lampoons some of the conventions of recent comic-book epics and adds the expected staples of juvenile humor: urine, vomit and intestinal gas.
  13. Hats Off
    Ten years in the making, Hats Off is a documentary tribute to the 93-year-old actress Mimi Weddell, one of those people for whom the word “individual” seems especially apt.
  14. Alexandra
    A film of startling originality and beauty -- feels like a communiqué from another time, another place, anywhere but here.
    • 76 Metascore
    • 80 Critic Score
    Shotgun Stories
    The film is a here-and-now American potboiler and a stripped-down parable that can be appreciated by any culture.
    • 41 Metascore
    • 40 Critic Score
    Drillbit Taylor
    So ploddingly directed (by Steven Brill) and lazily written that it adds up to little more than a diffuse collection of second-hand gags and jokes, few of them funny.
  17. The Grand
    The actors certainly look as if they’re having a good time, and if you’re in the right mood, you might too.
    • 57 Metascore
    • 60 Critic Score
    The Hammer
    Rambling and disorganized. At the same time, though, The Hammer also has dry wit and unforced working-class swagger, and hits some surprising emotional notes.
  19. Shelter
    Coming out has rarely looked so pretty.
  20. Meet the Browns
    What he serves up -- a mixture of moralism and forgiveness, semibawdy humor and cautionary drama, mockery and affection -- may sometimes lack coherence, but never integrity.
  21. Shutter
    The director, Masayuki Ochiai, conjures textbook J-horror miasma: clammy clinical interiors; overcast skies; diffuse cityscapes. He also gives Alfred Hitchcock a nod, with a sequence nakedly stolen from “Psycho,” and draws unease from Jane’s disorientation in a foreign city. Tokyo, in fact, may be the movie’s most fascinating player.
  22. Boarding Gate
    Even in Boarding Gate, a modestly scaled, self-consciously tawdry exercise in genre appropriation, Mr. Assayas manages to say more about what it is to be human -- to desire, to fear, to be alone -- than most filmmakers say in a lifetime.
  23. Love Songs
    The girl-boy-girl threesome, which turns out to be short-lived, is perhaps the most straightforward emotional configuration in this odd, witty, touching film.
    • 63 Metascore
    • 70 Critic Score
    Planet B-Boy
    From moment to moment, Planet B-Boy is fun, sometimes thrilling and packed with illuminating details and striking personalities.
  25. Irina Palm
    Irina Palm is, for the most part, a phony trifle, but at its heart, somehow, is a real and fascinating person.
  26. Under the Same Moon (La misma luna)
    This is screenwriting by numbers. Unlike, say, Ken Loach’s marvelous “Bread and Roses,” Under the Same Moon is too busy sanctifying its protagonists and prodding our tear ducts to say anything remotely novel about immigration policies or their helpless victims.
    • 51 Metascore
    • 40 Critic Score
    Doomsday
    In terms of story, “The Descent” and Doomsday are as different as two genre films can be, but the falloff in artistic quality is still quantifiable. Where “The Descent” was a slow, quiet, exquisitely modulated, startlingly original film, Doomsday is frenetic, loud, wildly imprecise and so derivative that it doesn’t so much seem to reference its antecedents as try on their famous images like a child playing dress-up. Homage without innovation isn’t homage, it’s karaoke.
  28. Horton Hears a Who!
    There are aspects of “Horton,”... that are fresh and enjoyable, and bits that will gratify even a dogmatic and orthodox Seussian.
  29. Never Back Down
    The movie speeds up and slows down as though controlled by a director in the grip of competing medications. For those who make it to the final beatdown, however, the only pill worth taking is the one that makes you forget.
  30. Sleepwalking
    As Mr. Maher, in his feature directing debut, brings in surreal touches and puts on literary airs, the film’s grip loosens, and its vernacular turns increasingly wooden.
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