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. Crazy Love
    The overall vibe is morbidly entertaining, though something of a downer, partly because it's unclear if Mr. and Mrs. Pugach know that they are such sick puppies, partly because it's unclear if Mr. Klores cares that they are.
  2. Day Watch
    Unfolding in a decrepit, present-day Moscow, Day Watch dazzles and confuses with equal determination.
    • tbd Metascore
    • 50 Critic Score
    The Fifth Empire
    Mr. Oliveira’s script talks itself hoarse, but his images sing.
    • tbd Metascore
    • 50 Critic Score
    Otoshimono
    The movie ultimately proves more unnerving than terrifying, and the monster, which probably shouldn't have been revealed in quite so much detail, looks too much like the title character of "Bride of Chucky," only with eyes in the back of her mossy head.
  5. Surf's Up
    Has a friendly, blue-collar vibe (Cody is an ex-fish-sorter from the Shiverpool, Antarctica) and some sly, low-key humor. Nevertheless, a moratorium on penguins might be called for, despite the inevitable anthropomorphic void.
  6. La Vie en Rose
    La Vie en Rose, which Mr. Dahan wrote as well as directed, has an intricate structure, which is a polite way of saying that it's a complete mess... In the end, as often happens in movies of this kind, La Vie en Rose is saved by Piaf herself.
    • 59 Metascore
    • 50 Critic Score
    Noriko's Dinner Table
    This 159-minute feature doesn't quite cohere. Mr. Sono's direction is haphazard; he oversells the first half's whimsical touches and the second half's spiral-of-doom emoting. Still, the movie is worth seeing, if only to experience a small story with impossibly grand ambitions.
  8. DOA: Dead or Alive
    Free of blood, bruises and visible trauma, DOA revels in its fakery. And though the film presents more exuberant female flesh than hiring day at Hooters, it's strictly for titillation.
  9. Eagle vs Shark
    Intermittently charming, sometimes tiresome celebration of quirkiness.
  10. Evan Almighty
    A movie far less interesting than its premise. It is also slightly less interesting than its hugely popular predecessor, "Bruce Almighty."
  11. Ghosts of Cité Soleil
    In spite of occasional gestures in the direction of political or sociological context -- interviews with anti-Aristide activists, news images of battles beyond Cité Soleil -- Mr. Leth is not, in the end, much concerned with offering an analysis of the Haitian situation. Like Lele, he'd rather have a party with the thugs.
    • 41 Metascore
    • 50 Critic Score
    One to Another
    The notion that French cinema consists mainly of pretentious soft-core pornography is an ignorant cliché, but One to Another does little to disprove it.
  13. Klimt
    The shortened version is lovely to look at, but the stilted dialogue and crude overdubbing in scenes where English is not spoken often make it an impenetrable hodgepodge.
  14. Transformers
    A movie of epically assaultive noise and nonsense.
  15. Introducing the Dwights
    A funny-sad, icky-sweet comedy of family dysfunction.
    • 52 Metascore
    • 50 Critic Score
    Goya's Ghosts
    An unwieldy mix of political satire and lavish period soap opera.
  17. I Now Pronounce You Chuck & Larry
    Sporadically funny, casually sexist, blithely racist and about as visually sophisticated as a parking-garage surveillance video.
  18. Molière
    Less forgivably, the movie is dull.
  19. The Ten
    A “Decalogue” for special-ed students, The Ten leans too often toward the bizarre and the bewildering. And though rough sex is a recurring motif, the movie’s overall tone is less blasphemous than raunchy.
  20. Becoming Jane
    The screenplay’s pseudo-Austen tone is so consistent that its lapses into modern romance-novel fantasy threaten to derail the film.
    • 48 Metascore
    • 50 Critic Score
    Dirty Laundry
    Mr. Jamal’s direction ranges from clumsy to competent, and the film’s overwhelming desire to be loved blunts any edge it might have had.
    • 63 Metascore
    • 50 Critic Score
    Hannah Takes the Stairs
    Less notable for its story than for what the movie itself represents: an evolutionary entry in the so-called Do It Yourself (or D.I.Y.) independent film movement.
  23. Dedication
    A movie that reveals its toxic intentions only gradually. Until it does, there is much to enjoy in the prickly odd-couple relationship of Henry (Billy Crudup) and Rudy (Tom Wilkinson), successful writing partners and longtime friends.
  24. The Nanny Diaries
    Because The Nanny Diaries is essentially a two-character story whose supporting players are wooden props, it would help if the actors playing the two were evenly matched. But Ms. Johansson’s Annie, who narrates the movie in a glum, plodding voice, is a leaden screen presence, devoid of charm and humor.
  25. Right at Your Door
    The film, especially in its resolution, feels a bit like a “Twilight Zone” episode and might have been better at that length, but the acting’s pretty good, and the cinematography keeps things lively.
  26. The Invasion
    Whatever the case, The Invasion lurches and drags and teeters on the brink of death from scene to scene; it plays as if it had been made by someone in a trance, though not a cool one.
  27. The Monastery: Mr. Vig and the Nun
    Despite some pretty seasonal photography and evocative scenes of the nuns’ rigorous daily rituals, which involve many hours of prayer, The Monastery is a flighty, disorganized film with a blurry timeline and a wandering attention span.
  28. Freshman Orientation
    On one level, a stereotypical mash of Greek cruelty, queer poetry slams and rabid activist rhetoric. But beneath the tired crudeness and college-romp clichés, the movie is gently perceptive about the malleable nature of sexuality and the barriers we construct to hide our confusion.
  29. The Nines
    Think of it as a kind of “Twilight Zone 2007” in which the paranoia endemic to an industry that runs on illusion, hype and extravagant grandiosity comes home to roost.
  30. Hatchet
    Horror without suspense is like sex without love: you can appreciate the technicalities, but ultimately there’s no reason to care.
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