The New York Times' Scores

For 20,311 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:
20311 movie reviews
  1. A powerful portrait of working-class Istanbul that artfully suggests a wellspring of found moments. Quietly, steadily, it gathers a resonance belying its slice-of-life scale.
  2. Veering from ridiculous to revolting, The Tortured would like to be about more than singed nipples and seared skin. And it is: It's also about cracked toes and lanced eardrums.
  3. Narrating as he goes, his humor as warm and dry as the ground beneath his feet, Mr. Soling is an unconventional explorer whose interactions with the long-suffering Ik - the women quiet and watchful, the men seamed and talkative - are politely deferential. He's clearly not there to engage in scientific study; he's simply reaching out across continents on a hunch that even eminent scientists can get it wrong.
  4. This is a film that does sweat the technique, with at times illuminating and spirited results.
  5. Alien invasion is just an excuse for romantic farce in Extraterrestrial, a tiresome roundelay of lies, lust and leaping paranoia.
  6. Patang ("The Kite"), Prashant Bhargava's first feature, has a lovely, unforced quality. That's because Mr. Bhargava lets his story, set during the annual kite festival in Ahmedabad, India, tell itself, unfolding slowly as he follows filmmaking's most basic and most sinned-against dictum: Show, don't tell.
  7. Although Mr. Pawlikowski often shows Mr. Hawke in medium and long shots, the actor draws you close. There's anguish in Tom's face that speaks of a terrible fragility and that leavens the story's mysterioso proceedings with a real, recognizable humanity.
  8. That's My Boy is a pretty wretched movie if you want to activate your brain cells, but its busily plotted second half approaches involving.
  9. Far from imposing clarity on the historic gatherings, Tahrir embraces the thrill and uncertainty of popular action. In some ways resembling old-fashioned vérité, Stefano Savona's chronicle aims to plunge you into the crowds and clamor.
  10. Though not explicitly autobiographical, this film is deeply personal, and while the nature of cinema is very much on its mind, it rarely feels insular or self-conscious. Instead, it is wistful and nostalgic, and at the same time full of restless curiosity.
  11. The film's late swerves into melodrama and the neighboring region of farce feel panicky and pandering. The subtlety of the performances - Ms. DeWitt's in particular - is sacrificed for easy laughs, shallow tears and a coy trick ending. Just when it was starting to get interesting.
  12. It looks like Disneyland and sounds, well, like a bad Broadway musical, with all the power belting and jazz-hand choreography that implies.
  13. Natalia Almada's eloquent documentary portrait of a sprawling graveyard in Culiacán, Mexico, in the northwestern state of Sinaloa. The rapidly expanding cemetery has become the burial ground of choice for the country's slain drug lords.
  14. Three-Headed Bird Village - the setting for Xiaolu Guo's stingingly funny satire, UFO in Her Eyes - is a quiet agricultural hamlet in the Guangxi province of southern China that is uprooted by instant globalization.
  15. Like many other recent documentaries about artists, it is more celebratory than analytical, a kind of slick, extended promotional video for its subject.
  16. Ridiculous and undeniable, it's a punchy cartoon, rightly confident of its power to entertain. Why resist?
  17. A beautifully filmed and patiently explained assessment of a proposal to build five hydroelectric dams in the Patagonia region of Chile.
  18. Creepy, silly, startling, irritating, and black-vomit-and-multicolored-urine disgusting, The Oregonian wears out its welcome within 30 minutes.
  19. Ms. Rohrwacher combines a documentary impulse (effective in family scenes) with a more allegorical one. Her film gets clunky when allegory has the upper hand, and that means Corpo Celeste often stumbles, along with its 12-year-old heroine, Marta (Yle Vianello).
  20. Mr. Williams's quiet integrity trumps Mr. Kessler at every turn. Self-aware and articulate, with a modesty born from confidence, he persistently uses the film to extol - and demonstrate - the rewards of recovery. His conviction brings necessary moral weight to Paul Williams: Still Alive, which transcends caricature to emerge an impressive personal testament.
  21. That time machine - a wonderful-looking gizmo with some lasers stolen from a medical laboratory - really exists. Whether it works or not, you'll have to see for yourself. It's worth the wait.
  22. Stylistically a formulaic, middle-drawer television movie about intergenerational strife and forgiveness. Every plot turn is groaningly predictable. But at least the lead performances set off sparks.
  23. In spite of its scruffy look and slack pacing, it often rings as false as any of the big, shiny and soft studio rom-coms (starring Kate Hudson or Katherine Heigl, say) of the last decade.
  24. Where Madagascar 3 soars is in its visuals: A Monte Carlo chase is vertiginously madcap; a Cirque du Soleil-style spectacle dazzles with rich pastels; the 3-D effects have wit and invention. Kids will be stimulated. And, parents, you'll enjoy the sights.
  25. Although this is potentially juicy stuff, it is as dry and tasteless as a shrunken piece of fruit left in the refrigerator far too long.
  26. Mr. Solondz brilliantly - triumphantly - turns this impression on its head, transforming what might have been an exercise in easy satirical cruelty into a tremendously moving argument for the necessity of compassion.
  27. The virtuosity on display makes the weakness of the story all the more frustrating. I'll avoid spoilers here, but Prometheus kind of spoils itself with twists and reversals that pull the movie away from its lofty, mind-blowing potential.
  28. The filmmakers hesitate at going deeper into the dark places of the prisoners' biographies and the storied prison itself. The one wouldn't exist without the other, and Ms. Chiarelli's rambling platitudes are no substitute.
  29. The director, John Gulager, has no idea how to mix his ingredients to create a savvy self-parody.
  30. It's dull filmmaking.

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