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. Lady Chatterley
    This Lady Chatterley, winner of five César awards in France, feels bracingly fresh, vital and modern.
  2. You Kill Me
    Straight-up ridiculous, but it's also consistently funny and nicely played by a well-complemented cast that finds its collective groove and never misses a beat.
  3. 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.
    • 62 Metascore
    • 70 Critic Score
    Longing
    Intrigues because it presents an outwardly decent man falling equally in love with two women but eschews simplistic judgments.
  5. Manufactured Landscapes
    Absorbing if unsettling documentary.
    • 72 Metascore
    • 80 Critic Score
    White Palms
    The term "sports film" doesn't do justice to the director Szabolcs Hajdu's movie White Palms, a punishing, beautiful drama.
  7. 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.
  8. Fantastic Four: Rise of the Silver Surfer
    This existentially and aesthetically unnecessary sequel to the equally irrelevant if depressingly successful "Fantastic Four."
  9. Nancy Drew
    As it is, Nancy Drew stands as an example of how to take a foolproof, time-tested formula -- a young detective using smarts and determination to solve a case -- and mess it up with superficial cleverness and pandering hackwork. How this happened is hardly a mystery; botched adaptations are as common as BlackBerries in Hollywood. But it is nonetheless something of a crime.
  10. Eagle vs Shark
    Intermittently charming, sometimes tiresome celebration of quirkiness.
  11. Fido
    It won't make you bleed, just howl.
  12. When the Road Bends: Tales of a Gypsy Caravan
    As a music document and as a labor of unabashed love, the nonfiction feature Gypsy Caravan could hardly be better; as a movie, it could stand some improvement.
  13. Strike
    Schlöndorff calls the film "a ballad inspired by true events," and its occasional bouts of clumsiness and sentimentality are inseparable from its power.
    • 65 Metascore
    • 70 Critic Score
    Beyond Hatred
    An example of a film whose style doesn’t merely suit its story but amplifies its meanings.
  15. Jhoom Barabar Jhoom
    A giddy romantic comedy with star power.
  16. Czech Dream
    When they discover they've been made fools of, they accept this performance event with surprising equanimity. There is a lot of grumbling but no riot. They get the joke.
    • 51 Metascore
    • 80 Critic Score
    Macbeth
    For four centuries William Shakespeare’s plays have been reinvented to fit contemporary sensibilities. But few recent efforts can match the Australian writer and director Geoffrey Wright’s brutal and thrilling new version.
    • 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.
  19. Lights in the Dusk
    This spare, minimalist film is not realistic. It has the simplicity of a silent movie, and the blocking of the actors, especially in the scenes with Koistinen and Mirja, emphasizes the distances between them.
  20. Ocean's Thirteen
    "Ocean's 23," oops, Ocean's Thirteen, is also a gas; it's lighter than air, prettier than life, a romp, a goof and an attentively oiled machine.
  21. Hostel: Part II
    Mr. Roth, part of a new breed of horror directors affectionately labeled the "Splat Pack," is regarded by some as a savior of the genre, though it could be argued that he is more effectively a saboteur. He might have mastered the cheap sadism-as-entertainment gross-out, but he has yet to produce a single genuine, old-fashioned fright.
  22. 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.
  23. 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.
    • 64 Metascore
    • 70 Critic Score
    You're Gonna Miss Me
    Luckily, the director Keven McAlester keeps Mr. Erickson's humanity front and center. He lets music critics and musicians praise Mr. Erickson's smiling banshee voice (which influenced Janis Joplin) and pioneering use of feedback, but he doesn't insist on his subject's genius or oversell his importance.
    • 18 Metascore
    • 20 Critic Score
    Miriam
    The title role is played by Ariana Savalas, daughter of Telly. She's good, but not inventive enough to rescue Miriam, which is hobbled by flatly lighted video imagery, unconvincing period details and an inclination to wallow in atrocity.
  26. 12:08 East of Bucharest
    Though it is modest, almost anecdotal, in scale, 12:08 East of Bucharest is also characterized by a precise and sneaky formal wit.
    • 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.
  28. Knocked Up
    An instant classic, a comedy that captures the sexual confusion and moral ambivalence of our moment without straining, pandering or preaching.
  29. Gracie
    A familiar underdog story told with unusual sensitivity.
  30. Mr. Brooks
    A werewolf movie masquerading as a thriller, it looks like a canny attempt by Bruce A. Evans, its director and screenwriter (with Raynold Gideon), to establish a "Saw"-like franchise using the names of fading ’80s stars to lend the project a semblance of respectability.
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