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.
  3. I'm Reed Fish
    Sweetness and whimsy fill the screen to capacity in I'm Reed Fish, a rural coming-of-age tale that's so laid-back that its cast is almost horizontal.
  4. Ten Canoes
    There is nothing more enthralling than a good yarn, and Ten Canoes interweaves two versions of the same story, one filmed in black and white and set a thousand years ago, and an even older one, filmed in color and set in a mythic, prehistoric past.
  5. Pierrepoint
    In Pierrepoint:The Last Hangman Timothy Spall sinks his teeth into one of the juiciest roles of his career.
    • 60 Metascore
    • 70 Critic Score
    Radiant City
    The cinematographer Patrick McLaughlin's eerie, sometimes monumental images italicize the experts' statements, making the suburbs seem like an asphalt-and-Sheetrock dreamscape where democracy goes to die.
  7. Bug
    The escalating hysteria and grisly set pieces of Bug may strain credulity, but Ms. Judd has never been more believable as a woman condemned to attract the wrong kind of man.
  8. Pirates of the Caribbean: At World's End
    The cannibals, coconuts and landlocked locations have been replaced by the high-seas high jinks that made the first film so enjoyable.
  9. Angel-A
    Rie Rasmussen and Jamel Debbouze, the stars who portray Angela, the celestial therapist, and André, her star patient, display enough screwball romantic charm to keep this sugary trifle afloat longer than you'd expect.
  10. Golden Door
    What makes Mr. Crialese's telling unusual, apart from the gorgeousness of his wide-screen compositions, is that his emphasis is on departure and transition, rather than arrival.
  11. Paprika
    A gorgeous riot of future-shock ideas and brightly animated imagery, the doors of perception never close.
  12. Steel City
    Mostly Mr. Jun's script is sharp, and Laurie Metcalf, James McDaniel, America Ferrera and Raymond J. Barry in supporting roles help keep the tale mesmerizing, in a small-scale sort of way.
  13. 9 Star Hotel
    By ignoring Israeli voices and focusing only on the immigrants, Mr. Haar has produced a documentary filled with immediacy but free of analysis, a fascinating but ultimately unenlightening record of their plight.
  14. The Boss of It All
    Like all of Mr. von Trier's films, The Boss of It All is a cold, misanthropic work that places no faith in institutions and in humanity itself. But it's also very funny.
    • 40 Metascore
    • 50 Critic Score
    Orange Winter
    Orange Winter is more than a mere history lesson. Like Norman Mailer's nonfiction novel "The Armies of the Night," about the 1967 antiwar march on Washington, this movie characterizes a body politic as a living thing, and charts its internal changes as if it were the protagonist in a drama.
  16. Shrek the Third
    Shrek the Third seems at once more energetic and more relaxed, less desperate to prove its cleverness and therefore to some extent smarter.
  17. In Search of Mozart
    An adamantly linear, myth-busting stride through a prodigiously talented life.
  18. Brooklyn Rules
    However authentic and heartfelt this film's depiction of life on the meaner streets of the Northeast corridor may be, it doesn't begin to match "The Sopranos'" epic vision of violence, class struggle and upward mobility in a barbarous culture.
  19. Even Money
    A scare movie about gambling addiction, is as grim and lurid as any in the recent spate of films about the evils of crystal meth.
  20. Flanders
    Whether you like or loathe Mr. Dumont’s movies, his unsettling vision of humanity stripped of cultural finery feels profoundly truthful.
  21. The Last Time
    A Michael Keaton outing is always cause for celebration, no matter how ramshackle the vehicle ("First Daughter," anyone?) or paper-thin the role.
  22. Severance
    A lively romp through terrain less traveled than you might think.
  23. Fay Grim
    Too light-headed to qualify as satire, too poker-faced to register as comedy, Fay Grim belongs in its own stylistic niche: the Hal Hartley film.
  24. The Wendell Baker Story
    The appeal of The Wendell Baker Story depends on how charming you find the Wilson brothers, with their chipmunk grins and hip smart-aleck attitude. For my taste, a little goes a long way.
  25. Private Property
    Private Property embraces the banal and the monstrous, and affords Ms. Huppert opportunity to astonish rather than overwhelm.
  26. Hollywood Dreams
    Knowing but never jaded, Hollywood Dreams is driven by Ms. Frederick's no-boundaries commitment to her broken character, a performance that's as startling as it is touching. In Mr. Jaglom's maverick hands, the appeal of illusion over reality is both fatal and irresistible.
  27. Memories of Tomorrow
    Memories of Tomorrow finally understands that the real victim of this terrible affliction is the partner left behind.
  28. Once
    Its low-key affect and decidedly human scale endow Once with an easy, lovable charm that a flashier production could never have achieved. The formula is simple: two people, a few instruments, 88 minutes and not a single false note.
    • 38 Metascore
    • 50 Critic Score
    The Changeling
    Much like watching a straightforward theatrical production of any play hailing from any century: you have to imagine a more detailed world beyond the bare-bones visuals.
  30. 28 Weeks Later
    28 Weeks Later is not for the faint of heart or the weak of stomach. It is brutal and almost exhaustingly terrifying, as any respectable zombie movie should be. It is also bracingly smart, both in its ideas and in its techniques.
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