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. Directed by Steve Rash, Crooked Arrows gets points for its glimpses of Native American culture and history - the film's backers include the Onondaga Nation - but too many of these scenes are disappointingly static.
  2. The credibility is low, the idealism high and the sentiment through the roof in Jesse Baget's slender, micro-budgeted comedy Cellmates, a schematic parable about racism and (less overtly) illegal immigration.
  3. Names and events are ticked off in rapid succession, and the big, and fascinating, question of what role spirituality played receives cautious attention at best. Nonetheless, Bill W. offers a trove of information for non-A.A. members through the life of a man whose dedication has helped others understand their own.
  4. One Day on Earth shows, there's a fine line between coherence and chaos.
  5. An ostensible romantic comedy that's really just a grating portrait of an irredeemable jerk.
  6. Not much here is new, but condensing it all into one zippy documentary makes for an ugly portrait.
  7. What works here is the pleasantly naturalistic acting from people who don't look like typical actors.
  8. This scrappy-slick confessional is a fascinating study in dualities.
  9. Its clever final plot twist adds a gratifying jolt of the uncanny to what is otherwise a charming, bittersweet meditation on the passage of time and the equivocal power of images to capture an older world at the moment of its disappearance.
  10. Though leaving us with many more questions than answers, this well-intentioned blur of accusations, advertising clips and pink-washed events nevertheless deserves to be seen.
  11. Once the plot has sprung into action, High School is a bumpy ride that takes a few amusing dives but never coheres into anything special.
  12. Even at 143 minutes, For Greater Glory cannot satisfyingly fill out the stories of a half-dozen secondary characters, and there are frustrating gaps in the biographies of Gorostieta and José. The jamming together of so much history and melodrama makes for a handsome movie that is only rarely gripping.
  13. This movie is graceful, subtle and sure-footed, much as its English title implies.
  14. Much of the skimpy, waterlogged dialogue in Peter Vanderwall's screenplay is heavy with portent. Excerpts from Homer's "Odyssey" and Longfellow's "Children's Hour" add to the tonnage.
  15. 5 Broken Cameras deserves to be appreciated for the lyrical delicacy of his voice and the precision of his eye. That it is almost possible to look at the film this way - to foresee a time when it might be understood, above all, as a film - may be the only concrete hope Mr. Burnat and Mr. Davidi have to offer.
  16. Though it is an ambitious - at times mesmerizing - application of the latest cinematic technology, the movie tries to recapture some of the menace of the stories that used to be told to scare children rather than console them.
  17. The "Paranormal Activity" movies don't teem with metaphor, and neither does this film, directed by Brad Parker. The original "Night of the Living Dead" left you with plenty to chew on, so to speak; Chernobyl Diaries just leaves you feeling empty.
  18. This moving, penetrating documentary records his attempt to describe his conditions, confront them and learn to manage them.
  19. The film is a riveting portrait of young men in shock and in mourning as the tragedy stirs feelings that have long lain dormant.
  20. His (Rivera) movie hits its targets, but softly, more in amusement than in anger.
  21. Mr. Trier and Mr. Lie - a quiet, recessive but nonetheless magnetically self-assured screen presence - emphasize Anders's individuality above all. Oslo, August 31st has the satisfying gravity of specific experience, and also, true to its title, a prickly sense of place.
  22. Mighty Fine chugs along heartily until it abruptly stops on the edge of cliff, leaving you feeling shortchanged. It is a couple of crucial scenes away from feeling complete.
  23. It is possible to summarize the experience of watching The Intouchables in nine words: You will laugh; you will cry; you will cringe.
  24. American fans of "The Hunger Games" may not embrace - or even be permitted to see - Battle Royale, which is too bad. It is in many ways a better movie and in any case a fascinating companion, drawn from a parallel cultural universe. It is a lot uglier and also, perversely, a lot more fun.
  25. Moonrise Kingdom breezes along with a beautifully coordinated admixture of droll humor, deadpan and slapstick. Like all of Mr. Anderson's films, though, there's a deep, pervasive melancholia here too.
  26. It manages, in the end, to be touching as well as hectic and whimsical, and to send a few interesting thematic bubbles into the air, having to do with lost fathers, obscure regrets and racial reconciliation.
  27. The scenes with Karl Markovics, as Freud, are the lingering appeal of this artfully composed film.
  28. This film has the everyday vibe of a bunch of friends putting together a summer camp video. Gosh, the substance of Jacob's Pillow should be a little less sleepy.
  29. Serves up its material with an excess of treacly music and an overabundance of glowing reminiscences. This has the odd effect of making his story less powerful than it actually is.
  30. Unless you're among those who still drop acid as a midnight-movie apéritif, your enjoyment of this retro oddity remains far from guaranteed.

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