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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    • 25 Metascore
    • 30 Critic Score
    The Comebacks
    The movie’s low aspirations are depressing because its best gags are agreeably demented.
  2. Gone Baby Gone
    One of the graces of Gone Baby Gone is its sensitivity to real struggle, to the lived-in spaces and worn-out consciences that can come when despair turns into nihilism.
    • 70 Metascore
    • 70 Critic Score
    Out of the Blue
    The director confronts horror without wallowing in it, a strategy befitting a film that’s not about how people die, but how they live.
  4. Rendition
    A well-meaning, honorable movie. Which is not to say that it is a very good one.
  5. Reservation Road
    This is one of those sadistic exercises that puts its characters through the wringer without saying anything true or meaningful.
  6. Sarah Landon and the Paranormal Hour
    The film is sunk by a pervasive stasis, the byproduct not of mood but of the filmmakers’ amateurish abilities. If there’s one thing Nick and Disney know, it’s that youthful entertainment needs to keep moving.
  7. Things We Lost in the Fire
    Although neither Ms. Berry nor Mr. Del Toro can be faulted in their scenery-chewing moments, these star turns make you uncomfortably aware that they are Oscar-conscious auditions for the Big Prize. Their naked ambition subtly contaminates a movie that, despite its fine acting, has the emotional impact of a general anesthetic.
  8. Wristcutters: A Love Story
    Has an offbeat, absurdist charm that turns a potentially creepy conceit into an odd, touching adventure.
    • 49 Metascore
    • 40 Critic Score
    Meeting Resistance
    Many interviewees concede that the resistance is both disorganized and decentralized, and imply that some of the fighters are ethnic partisans jockeying for a slice of what will remain should the United States pull out.
  10. O Jerusalem
    Whether on a Middle Eastern battlefield or the streets of New York, characters converse in stilted, expository mouthfuls that smother emotion.
  11. Canvas
    A movie that rings emotionally true, despite structural contrivances and dim, washed-out color.
  12. Elizabeth: The Golden Age
    It’s intentionally playful and an inadvertent giggle, an overripe melodrama that’s by turns a bodice-ripper, a cloak-and-dagger thriller and a serious-minded historical drama with dubious contemporary overtones.
  13. Lars and the Real Girl
    It’s part comedy, part tragedy and 100 percent pure calculation, designed to wring fat tears and coax big laughs and leave us drying our damp, smiling faces as we savor the touching vision of American magnanimity. It holds a flattering mirror up to us that erases every distortion.
  14. Sleuth
    The result is that what was once insignificant is now insufferable.
  15. Terror's Advocate
    It is one of the most engaging, morally unsettling political thrillers in quite some time, with the extra advantage of being true.
  16. Why Did I Get Married?
    More than anything, a Tyler Perry movie is an interactive experience, and Why Did I Get Married? is no exception. At the screening I attended, it was often difficult to hear the dialogue between bouts of enthusiastic applause and shouts of “You go, girl!”
  17. We Own the Night
    The problem with We Own the Night is that it mistakes sentiment for profundity, and takes its ideas about character and fate more seriously than it takes its characters and their particular fates. “I feel light as a feather,” Bobby says in a crucial scene, at which point the movie starts to sink like a stone.
    • 70 Metascore
    • 50 Critic Score
    King Corn
    Mr. Cheney and Mr. Ellis are so pleasantly nondescript that they make no particular impression. As a result, all the time spent on autobiographical detail and personal banter hampers the film’s urgency, and plays like an awkward attempt to justify a format that the filmmakers are too self-effacing to exploit.
    • 53 Metascore
    • 50 Critic Score
    Khadak
    A trippy spectacle. It boldly tries to find visuals to describe complex metaphysical and political concepts. But the results often suggest aestheticized eye candy, along the lines of Ken Russell’s “Altered States” or Godfrey Reggio’s “Koyaanisqatsi” and its sequels.
  20. Laaga Chunari Mein Daag: Journey of a Woman
    A fascinating blend of musical, melodrama and feminist fairy tale, Laaga Chunari Mein Daag shows Bollywood’s moral universe in transition.
  21. Control
    You don’t have to know anything about Joy Division to grasp the mysterious sorrow at its heart.
  22. Golda's Balcony
    Inert yet strangely compelling film.
  23. Feel the Noise
    It’s the subtexts -- about minority kinship and Hispanic self-actualization -- that resound. If only its fable (and leading man) didn’t keep getting in the way.
  24. Finishing the Game: The Search for a New Bruce Lee
    A faux documentary grounded in ethnicity and mired in absurdity, Finishing the Game is a terrific idea still waiting to be fashioned into a real movie.
    • 73 Metascore
    • 70 Critic Score
    For the Bible Tells Me So
    There is no denying that the film, however inelegant, fills a need. The inevitable DVD should be packaged in a plain cardboard sleeve, so that viewers can carry it in their pockets and, if confronted by a homophobe, hand it over and say, “Watch this, then get back to me.”
  26. The Good Night
    The comedy of male midlife angst dates back at least to “The Seven-Year Itch,” when it was sweet and innocent. Each time it is recycled, it gets more sour and joyless.
  27. The Heartbreak Kid
    Lame, long, ugly joke of a movie.
  28. Michael Clayton
    Mr. Gilroy hasn’t reinvented the legal thriller here, but I doubt that was his intention; at its best and most ambitious, the film plays less like a variation on a Hollywood standard than a reappraisal. It’s a modest reappraisal, adult, sincere, intelligent, absorbing; it entertains without shame.
  29. My Kid Could Paint That
    Mr. Bar-Lev has made an excellent documentary, but it would have been better if he had not made it at all.
  30. The Seeker: The Dark Is Rising
    Feels passé and lacks a charismatic lead. Too bad Daniel Radcliffe is an only child.
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