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. Southland Tales
    Funny, audacious, messy and feverishly inspired look at America and its discontents.
  2. No Country for Old Men
    No Country for Old Men is purgatory for the squeamish and the easily spooked. For formalists -- those moviegoers sent into raptures by tight editing, nimble camera work and faultless sound design -- it’s pure heaven.
  3. Fred Claus
    Neither here nor there, the film is “Elf” without the goofy jokes, Will Ferrell or heart, “Bad Santa” without the smut, Billy Bob Thornton or spleen.
  4. Lions for Lambs
    It tells us everything most of us know already, including the fact that politicians lie, journalists fail and youth flounders. Mostly it tells us that Mr. Redford feels really bad about the state of things. Welcome to the club.
  5. P2
    Swift and stealthy P2 is a canny exploitation of one of the urban woman’s greatest fears: the after-hours parking garage. Throw in a car that won’t start, a creepy security guard and a filmmaking team with perfect synchronicity, and the result is a minimalist nightmare.
  6. Saawariya
    The experience is visually enchanting, cloyingly sweet, at once utterly chaste and insanely erotic, and finally exhausting. Aficionados will not settle for less.
  7. War Dance
    War/Dance, in spite of its slickness, is an honorable, sometimes inspiring exploration of the primal healing power of music and dance in an African tribal culture.
  8. Holly
    There’s a riveting story lurking inside Holly, a documentary-fiction hybrid about sex trafficking in Cambodia. It’s just not the one the filmmakers want to tell.
    • 72 Metascore
    • 70 Critic Score
    The Life of Reilly
    Built around “Save It for the Stage,” a one-man stage show by Charles Nelson Reilly, a showbiz gadfly and Tony Award-winning theater director.
    • 69 Metascore
    • 70 Critic Score
    Steal a Pencil for Me
    What makes Ms. Ohayon’s movie special is its recognition that epic horrors don’t erase private dramas.
    • 83 Metascore
    • 80 Critic Score
    My Name Is Albert Ayler
    Named after one of his albums and built around snippets of audio interviews with Mr. Ayler, it attempts and often achieves a fresh, playful style that’s equally informed by jazz traditions and Mr. Ayler’s urge to shatter them.
  12. Fat Girls
    Ends up stranded between two concepts, either of which might have yielded a more satisfying film.
  13. American Gangster
    Greatness hovers just outside American Gangster, knocking, angling to be let in.
  14. Bee Movie
    The real fun is the insect shtick.
  15. Darfur Now
    What Darfur Now offers is a collective vision of actions, small and large, taken on many fronts, to end the crisis. The movie is a quiet, methodical call to action.
  16. Joe Strummer: The Future Is Unwritten
    The film is much more than a biography of the Clash’s guitarist and lead singer: It’s history, criticism, philosophy and politics, played fast and loud.
  17. Martian Child
    100 percent goo.
    • 59 Metascore
    • 60 Critic Score
    Sharkwater
    Mr. Stewart dilutes the movie’s urgency by framing the subject within a “personal journey” format and selling himself as a hunky, sensitive martyr.
    • tbd Metascore
    • 30 Critic Score
    The Shoemaker
    A triptych of short films set on and immediately after 9/11, A Broken Sole is based on a stage production by its screenwriter and co-producer, Susan Charlotte. One hopes the material played onstage, because it dies on screen.
  20. Before the Devil Knows You're Dead
    Curiously exhilarating. Some of this comes from the simple thrill of witnessing something, or rather everything, done well.
  21. Bella
    If Bella (the title doesn’t make sense until the last scene) is a mediocre cup of mush, the response to it suggests how desperate some people are for an urban fairy tale with a happy ending, no matter how ludicrous.
  22. Dan in Real Life
    Dan in Real Life is neither wildly farcical nor mockingly cruel, but rather, for the most part, winningly gentle and observant.
  23. Jimmy Carter Man from Plains
    Man From Plains isn’t about engagement; it’s about disengagement from Mr. Carter’s critics and his more provocative beliefs. It’s also about legacy building.
    • 53 Metascore
    • 50 Critic Score
    Music Within
    A bad movie with a good heart.
  25. Rails & Ties
    Everything looks professional if undistinguished.
  26. Saw IV
    Saw IV is bloody proof that Jigsaw may be dead, but his well of corporeal abuses has yet to run dry.
  27. Slipstream
    For an actor like Mr. Hopkins, disappearing into another character, especially a historical figure, must be a far more unsettling deconstruction of reality than for the casual moviegoer observing the transformation. That is a notion Slipstream might have explored more fruitfully, had it focused its wandering attention span, kept its camera steadier and figured out what it wanted to say.
  28. Lynch
    It’s precisely the worshipful feel of Lynch -- including scenes in which the camera points up at Mr. Lynch from what seems to be the floor, as if it were a faithful dog -- that makes the movie so sweet and so appealing. It’s like watching a schoolgirl crush unfold, through a glass darkly.
  29. Mr. Untouchable
    There is some acknowledgment of the terrible effects of the drug trade on residents of Harlem and other poor New York neighborhoods, but for the most part Mr. Untouchable clings to the standard hip-hop mythology of the pusher as entrepreneur, rebel, celebrity and folk hero.
    • 53 Metascore
    • 30 Critic Score
    30 Days of Night
    The performers have little to do besides spill and drink blood in this tedious, inconsequential B picture. The sun doesn’t rise nearly fast enough.
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