The New York Times' Scores

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For 20,312 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: 9,400 out of 20312
  2. Mixed: 8,446 out of 20312
  3. Negative: 2,466 out of 20312
20312 movie reviews
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  1. Kati with an I
    Buoyed by a fully integrated soundtrack, Kati With an I delivers a lovingly personal observation of young people at a crossroads. The film's sound is not always crisp, but no matter: Kati's story is written in every vital, vérité frame.
  2. The Family Jams
    The low-key, hand-held Family Jams may not ever attain the stature of, say, a concert film like D. A. Pennebaker's "Don't Look Back." But it should, as a record of musicians in youthful flower, sharing a loose, heartfelt camaraderie and lack of pretension.
  3. Born to Be Wild
    The women's efforts have already had a fair amount of publicity, so the attraction here is the cinematography, and it makes good use of Imax and 3-D technology, with lovely aerial views and startling close-ups.
  4. Soul Surfer
    As a portrait of a spirited, resilient athlete, the movie succeeds best, unafraid to face its heroine's daunting challenges directly.
  5. Meet Monica Velour
    This is Ms. Cattrall's movie all the way. Photographed more cruelly than a tabloid victim, she gives Monica a grubby dignity that her "Sex and the City" alter ego, Samantha Jones, would wholeheartedly applaud.
  6. American: The Bill Hicks Story
    An oddly sterile documentary inspired by a particularly fecund imagination, American: The Bill Hicks Story recounts a bright-burning life while leaving us mostly in the dark.
  7. To Die Like a Man
    For all its melodrama To Die Like a Man is a not a tearjerker. Its gaze into the void is as unblinking as that of the H.I.V.-positive 60-year-old hustler in Jacques Nolot's even more hard-headed film, "Before I Forget."
  8. Henry's Crime
    Its mood is so muffled and point so submerged, it's difficult to see why Mr. Reeves and the rest of the cast pooled their talents to make a movie about a nowhere man going no place in particular in Buffalo.
  9. Ceremony
    In its mixture of the quirky and the downbeat, Ceremony aspires to be a hybrid of Noah Baumbach's "Margot at the Wedding" and Wes Anderson's "Rushmore" but falls far short.
  10. Your Highness
    May be better enjoyed in an herb-enhanced condition. Getting stoned is, after all, a running joke in this comedy, which is as thin as rolling paper and just as ephemeral.
  11. Arthur
    The star does his patented shtick, supported by a handful of blue-chip supporting performers, as the story lurches through contrived, seminaughty comic set pieces toward a sentimental ending.
  12. Meek's Cutoff
    Meek's Cutoff is as unsentimental and determined as Ms. Williams's character, its absolutely believable heroine. It is also a bracingly original foray into territory that remains, in every sense, unsettled.
  13. Hanna
    In the end there might not be much to this tale other than titillation, but there's plenty to be said for Ms. Ronan, who was the best thing about "Atonement" and holds her ground against forceful screen presences like Ms. Blanchett and Mr. Bana.
  14. They're Out of the Business
    What was sometimes charming and funny in "Turnaround" is almost uniformly dreary in "Business," a result of tired humor, a monotonous pace and Mr. Schaeffer's inexpressiveness as an actor.
  15. Blank City
    Ms. Danhier manages to conjure a glorious and grungy bygone past without fetishizing it as a golden age. A bunch of people got together and did some stuff, and this is what it looked like.
  16. Two Gates of Sleep
    The intent is perhaps some kind of dark tone poem, and the cinematography (by Jody Lee Lipes) is lovely. But oh, the tedium.
  17. Wretches & Jabberers
    The film is maddeningly vague about how the two men made their initial breakthroughs, but it certainly is proof that even those who are written off as children can find a voice.
  18. Trust
    The mantle of social relevance can be a heavy one, but Trust, a smooth drama about a girl's seduction and rape by a middle-aged Internet predator, is neither preachy nor hysterically overreaching.
  19. Circo
    Circo offers a touching chronicle of a dying culture harnessed to ambitions that remain very much alive.
  20. Super
    Super rides on the carefully bent performances of its stars.
  21. Fat, Sick & Nearly Dead
    Fat, Sick may be no great shakes as a movie, but as an ad for Mr. Cross's wellness program its now-healthy heart is in the right place.
  22. Wrecked
    Information leaks into the film via the radio and a few flashbacks, but Wrecked is mostly free of dialogue - and, unfortunately, suspense.
  23. Cat Run
    An incoherent hybrid of buddy movie, "Girls Gone Wild" episode and James Bond spoof that employs cheap cinematic tricks like multiple split screens for no apparent purpose.
  24. Queen to Play
    In small but significant ways, Queen to Play defies expectations. It dangles the possibility of an affair between Hélène and Kröger in games that the film likens to courtship rituals in a classic screwball comedy.
  25. Rubber
    While it can be seen as an environmental horror movie (if you must), Rubber doesn't dig down but instead merrily rolls on, as Mr. Dupieux plays with narrative and form. In one wonderful cinematic coup the tire spots a crow and shifts toward the bird so that it's framed in the tire hole, an angle that turns the tire into a camera. Point. Click. Explode.
  26. In a Better World
    Everything about In a Better World feels just a little too easy: a better movie might have let in more of the messiness of the world as it is. This one falls into cheap manipulation, winding up the audience with foreboding music and the spectacle of blond children in peril.
  27. Hop
    Hop is innocuous, though occasionally annoying and also, less expectedly, occasionally funny. Both types of occasions are mostly provided by Russell Brand, who specializes in collapsing the distinction between the exasperatingly silly and the charmingly naughty.
  28. Source Code
    In crucial ways, Source Code, written by Ben Ripley, recalls "Moon," Mr. Jones's accomplished feature debut about a solitary astronaut played by Sam Rockwell. Source Code is bigger, shinier, pricier.
  29. Insidious
    The strongest analogue for the second half of Insidious is one that the filmmakers probably weren't trying for: it feels like a less poetic version of an M. Night Shyamalan fairy tale.
  30. The Four Times (Le Quattro Volte)
    There is something startling, even shocking, about the angle of vision Mr. Frammartino imposes by juxtaposing apparently disparate elements and lingering on what seem at first to be insignificant details. You have never seen anything like this movie, even though what it shows you has been there all along.
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