The New York Times' Scores

Select another publication »
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
view
per page
  1. The Witnesses
    The Witnesses may frustrate those who prefer movies that tell clear-cut stories in which hard lessons are learned. But in the director’s farsighted vision of life, the ground under our feet is always shifting. As time pulls us forward, the shocks of the past are absorbed and the pain recedes. In its light-handed way, The Witnesses is profound.
  2. The Silence Before Bach
    The film demands engagement and a kind of surrender, a willingness to enter into a work shaped by correlation, metaphor and metonymy, by beautiful images and fragments of ideas, a work that locates the music in the twitching of a dog’s ears, in the curve of a woman’s belly, a child’s song and an adult’s reverie.
  3. Rambo
    The movie does have its own kind of blockheaded poetry.
    • 63 Metascore
    • 70 Critic Score
    How She Move
    There’s nary a twist you don’t see coming. But the film’s strong acting, spectacular dance routines and culturally specific details turn clichés into catharsis. It’s the sort of film that sends you home with a spring in your step.
  5. Meet the Spartans
    Overkill is what Jason Friedberg and Aaron Seltzer do best: as the uncontested titans of the parody genre (with fingers in everything from the “Scary Movie” franchise to the more recent “Epic Movie”) they continue to prove that ridiculing other movies is much easier than making your own.
  6. Untraceable
    You may view Untraceable, as I do, as a repugnant example of the voyeurism it pretends to condemn.
  7. Trailer Park Boys: The Movie
    Like a feature-length version of the television sitcom “My Name Is Earl,” only Canadian -- and not funny.
  8. The Air I Breathe
    An ingenious contraption that holds your attention for as long as it whirs and clicks like a mechanized Rubik’s Cube. After it’s over, however, you may find yourself scratching your head and wondering if there was any purpose to this sleek little gizmo.
  9. Lost in Beijing
    In spite of its raw, explicit moments, the film is at heart a sturdy morality tale about innocence and corruption, wealth and want, sex and power.
  10. Alice's House
    Chico Teixeira’s languid, libidinous Alice’s House is the best argument against marriage and motherhood to appear in many a year.
  11. 4 Months, 3 Weeks and 2 Days
    It’s a pitiless, violent story that in its telling becomes a haunting and haunted intellectual and aesthetic achievement.
    • 83 Metascore
    • 100 Critic Score
    U2 3D
    Not merely a technical landmark -- shot entirely in digital 3D -- but also an aesthetic one, in that it’s the first Imax movie that deserves to be called a work of art.
  13. Summer Palace
    In Summer Palace Lou nonetheless succeeds in finding a cinematic language that does more than summarize the important events of a confusing decade. He distills the inner confusion -- the swirl of moods, whims and needs -- that is the lived and living essence of history.
  14. Teeth
    Teenage horror-movie spoof, John Waters parody, No Nukes protest movie, twisted sex-education film, quasi-feminist fable, outrageous stunt: Mitchell Lichtenstein’s clever, crude comedy, Teeth, is all these and more.
  15. Cassandra's Dream
    Woody Allen’s latest excursion to the dark side of human nature, is good enough that you may wonder why he doesn’t just stop making comedies once and for all.
  16. Cloverfield
    Like too many big-studio productions, Cloverfield works as a showcase for impressively realistic-looking special effects, a realism that fails to extend to the scurrying humans whose fates are meant to invoke pity and fear but instead inspire yawns and contempt. Rarely have I rooted for a monster with such enthusiasm.
  17. Mad Money
    In the breezy, amoral heist comedy Mad Money, “Fun With Dick and Jane” meets “9 to 5” on the way to recession.
  18. 27 Dresses
    As the director, Anne Fletcher, methodically cuts back and forth between two weddings, she makes the reasonably insightful, moderately funny point that modern American weddings, however they may strain for individuality and specialness, are all pretty much alike. The problem is that much the same could be said about modern American romantic comedies.
  19. Taxi to the Dark Side
    If recent American history is ever going to be discussed with the necessary clarity and ethical rigor, this film will be essential.
  20. Day Zero
    Its view of the near future may be vaguely plausible and its performances persuasive, but its formulaic construction, internal inconsistencies and fuzzy ending undermine its integrity. It has nothing to say about the big issues -- manhood, war and friendship -- that hasn’t been explored with more depth and honesty in a hundred other movies.
  21. Still Life
    A modern master of postmodern discontent, Jia Zhang-ke is among the most strikingly gifted filmmakers working today whom you have probably never heard of.
  22. First Sunday
    First Sunday sometimes feels more like a script read-through than like an actual movie, but its warmth is likely to carry you through the stretches of cliché and tedium.
  23. In the Name of the King: A Dungeon Siege Tale
    An awkward “Lord of the Rings” knockoff, it features both elaborate battles and bumbling humor, though it’s never quite clear when you should be laughing.
  24. The Pirates Who Don't Do Anything: A VeggieTales Movie
    It’s a boilerplate plot like one you might find in any morning cartoon.
  25. The Business of Being Born
    A passionate ground-level examination of home childbirth.
  26. Woman on the Beach
    Wry and tender and delicately melancholic, Woman on the Beach shows a newly confident filmmaker again working near the top of his form after the disappointing “Tale of Cinema” (2005), even if the new film unfolds straightforwardly, with none of the narrative ellipses and puzzle-box complications, the flashbacks and parallel story lines of his earlier work.
  27. One Missed Call
    A poker-faced puzzle whose biggest shock is the absence of Sarah Michelle Gellar.
  28. The Killing of John Lennon
    Shot in a quasi-documentary style at the actual locations where the events took place, including the sidewalk outside the Dakota, the movie is extremely uncomfortable to watch.
  29. Honeydripper
    Honeydripper is agreeable, well-intentioned and very, very slow. Sadly, it illustrates the difference between an archetype and a stereotype. When the first falls flat, it turns into the other and becomes a cliché.
  30. The Orphanage
    The Orphanage, a diverting, overwrought ghost story from Spain, relies on basic and durable horror movie techniques.
Page:

Top Trailers

See all »
See all trailers »