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. Charlie Bartlett
    If the attention span of Charlie Bartlett didn’t wander here and there, the movie might have been a high school satire worthy of comparison with Alexander Payne’s “Election.” But as it dashes around and eventually turns soft, it loses its train of thought.
    • 63 Metascore
    • 60 Critic Score
    The Signal
    Part 1, directed by David Bruckner is superb, with affecting performances, a sense of dread reminiscent of John Carpenter’s “Prince of Darkness” and many striking images. Part 2, directed by Dan Bush aims for George Romero-style ghastly humor, but it’s more grating than funny. Part 3, directed by Jacob Gentry adds a splash of tragic love, but its preference for gore over feeling becomes monotonous.
  3. Cover
    The sledgehammer message is clear: Best friends can help when you need a McMansion, but only God can help when your husband needs a man.
  4. Be Kind Rewind
    In its sweet, lackadaisical way, Michel Gondry’s Be Kind Rewind illuminates the pleasures and paradoxes of movie love.
  5. The Counterfeiters
    The Counterfeiters is a swift and suspenseful thriller, and perhaps a little too entertaining for its own good.
  6. Vantage Point
    This is competent if completely impersonal filmmaking of a familiar type that finds the usual allotment of famous, or at least famous enough, actors.
    • 17 Metascore
    • 40 Critic Score
    Witless Protection
    The slapstick and action set pieces are lame, and its performances range from competent to annoying.
  8. The Duchess of Langeais
    Duchess of Langeais seems to me a nearly impeccable work of art -- beautiful, true, profound.
  9. Evangelion: 1.0 You Are (Not) Alone
    When the material is condensed, nearly everything that made the first two-thirds of the television series distinctive _ — the deliberate pace, the wry humor, the subtle (for anime) characterizations — is lost. “Evangelion” becomes just another giant-robot story.
  10. Diary of the Dead
    The body has its needs, and one of the problems with Diary of the Dead is that it doesn’t get into your body; it doesn’t shake you up, jolt you, make you shiver and squeak. It’s clever, or at least clever enough to keep you going and interested from start to finish. It just isn’t scary.
  11. The Year My Parents Went on Vacation
    The performances are charming and convincing, and Mr. Joelsas does a good job of conveying Mauro’s loneliness and confusion as well as his playfulness. The Year My Parents Went on Vacation may not be terribly fresh or original, but its warm, sweet, nostalgic tone is hard to dislike.
  12. Definitely, Maybe
    A nimble and winning little romance
  13. Jumper
    A barely coherent genre mishmash.
  14. The Spiderwick Chronicles
    Instead of the kind of inspired imaginative synergy that distinguished the “Lord of the Rings” and later “Harry Potter” pictures, this movie, directed by Mark Waters (“Mean Girls”), feels more like a sloppy, secondhand pander.
    • 50 Metascore
    • 50 Critic Score
    Step Up 2: The Streets
    An earnest sequel to the 2006 cornball musical drama “Step Up,” mixing new characters into the original’s setting.
  16. Ezra
    The movie’s sense of time is as vague as Ezra’s perception of it. Chaos is all he knows. Making Ezra even harder to follow, and undermining its authenticity, is the fact that its mostly African cast speaks in a heavily accented English. Mr. Kamara’s glowering lead performance, however, is riveting.
  17. The Band's Visit
    Mr. Kolirin, it emerges, is wrenching comedy out of intense melancholia.
  18. Fool's Gold
    Will Finn and Tess find the treasure before the bad guys? Will they put aside their differences and rekindle their love? Yes to both questions! I haven’t spoiled anything, by the way. But perhaps I’ve saved you some trouble.
  19. The Hottie & the Nottie
    Custom designed for its smirking star (who is also an executive producer), this tasteless train wreck asks only that she preen and prance on cue.
  20. In Bruges
    Mr. Gleeson, Mr. Farrell and especially the late-arriving and welcome Mr. Fiennes have great fun rummaging around inside Mr. McDonagh’s modest bag of tricks.
  21. Wild West Comedy Show: 30 Days & 30 Nights - Hollywood to the Heartland
    Though it includes some moderately funny snippets of actual performances, Wild West Comedy Show is not a concert film. We never see a complete performance or even a quarter of one.
    • 46 Metascore
    • 60 Critic Score
    Welcome Home, Roscoe Jenkins
    It’s a cut above other films of its type because every scene is packed with details like those pliers -- touches that suggest that the film’s writer and director, Malcolm D. Lee (“The Best Man”), is working overtime to smuggle life into formula.
  23. London to Brighton
    A slice of social realism, a wedge of naturalism, a symbolically freighted fairy tale -- at times, London to Brighton feels like all of these combined, which, before it all turns to mush, gives the film the aspect of a fascinating and ambitious pastiche. There’s something provocative about Mr. Williams’s attempt to join together so many conflicting, contradictory influences, even if in the end they manage only to cancel one another out.
    • 82 Metascore
    • 90 Critic Score
    A Walk to Beautiful
    A complex and quietly devastating indictment of chauvinist societies that see women as lovers, mothers and servants, and treat anyone who can’t fulfill those roles as a nonperson.
  25. Caramel
    You are likely to remember this charming film, directed by Nadine Labaki, less for its gently comic, mildly melodramatic plot than for its friendly and inviting atmosphere.
  26. The Eye
    Louder and more literal than its inspiration, The Eye benefits from a spiky performance by Alessandro Nivola as Sydney’s rehabilitation counselor. “Your eyes are not the problem,” he tells her at one point. He is so, so right.
  27. Hannah Montana & Miley Cyrus: Best of Both Worlds Concert
    What you do see are diverting 3-D effects and lots of playing to the camera by Ms. Cyrus, who performs as both herself and as her television alter ego, Hannah Montana. To her credit her attire isn’t tawdry, and it appears that she can sing.
  28. Over Her Dead Body
    For what it is -- a romantic comedy about the rivalry between a jealous ghost and a flaky psychic for the love of a veterinarian -- Over Her Dead Body is not bad.
  29. Praying with Lior
    Patiently and delicately, Ms. Trachtman teases out the tricky dynamics of a family dealing with a disabled child.
    • 12 Metascore
    • 20 Critic Score
    Strange Wilderness
    What rankles isn’t the gross-out humor or the verbal non sequiturs, which are expected, even welcome, in this sort of movie. It’s the smug sense of entitlement -- that of intoxicated dweebs tittering endlessly and obnoxiously at their own supposed cleverness. “Harold and Kumar Go to White Castle” is the gold standard in this genre. Strange Wilderness is a counterfeit bill.
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