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. One Hundred Mornings
    Leavening the rather grim atmosphere with luminous earth tones (photographed by Suzie Lavelle) and a smidgen of wry humor, this low-budget beauty draws you in.
  2. Bal
    It has no musical soundtrack (and barely any dialogue), only a quiet, unforced, organic rhythm. And those spellbinding images. Like the viewer, Mr. Kaplanoglu is quite happy to let nature do the talking and cast a lyrical, mysterious spell.
  3. I Travel Because I Have to, I Come Back Because I Love You
    Coming in at a tight 75 minutes, this strikingly original travelogue glides on the lovely lilt of Mr. Santos's Portuguese narration.
  4. Diary of a Wimpy Kid 2: Rodrick Rules
    About the most you can say for it is that it's inoffensive.
  5. Drawing with Chalk
    Screaming "vanity project" from every hackneyed frame, Drawing With Chalk is yet another example of midlife American males doing all they can to avoid acting their age.
  6. Korkoro
    Korkoro (the word means freedom in Romani) has an unexpectedly leisurely quality as it shows the texture of Gypsy life - the music-making, the intense bonds with horses and the natural world - and its awkward fit with modernity.
  7. White Irish Drinkers
    Because Mr. Thurston and Mr. Wigdor lack the hard shells necessary to make their characters credible, White Irish Drinkers feels synthetic. Mr. Lang and the older cast members fare better, but they can't save a movie that runs on clichés.
  8. Potiche
    You suspect, before long, that there is no strong reason for this production to exist, but it is reasonably good fun all the same.
  9. Miral
    To say that Mr. Schnabel's film is innocuous is not to say that it's any good. Like so many other well-intentioned movies about politically contentious issues, it is hobbled by its own sincerity and undone by a confused aesthetic agenda.
  10. Illegal
    One problem is that while Mr. Masset-Depasse frames Tania's status in vague political terms, he doesn't make an argument. Instead he creates heroes and villains in what is, by turns, a prison flick, a psychological thriller and a maternal melodrama.
  11. Mia and the Migoo
    Trying to parse meaning in "Mia" is secondary to its main point, which is its look, created with 500,000 hand-drawn frames. That's impressive in an age in which most mainstream animation is done with computers.
  12. Peep World
    A family circus of dysfunction that's so familiar you may feel tempted to place bets on how everything will shake out.
  13. Sucker Punch
    There is nothing here to enjoy, beyond the tiny satisfaction in noting that the movie lives up to its name.
  14. My Perestroika
    My Perestroika gives you a privileged sense of learning the history of a place not from a book but from the people who lived it. Watching it is a little like attending a party in an unfamiliar city and discovering the place's secrets from the guests.
  15. The Gift to Stalin
    Immersed in the alien beauty of the Kazakh steppe, "The Gift to Stalin" moves slowly but engages thoroughly.
  16. Making the Boys
    Captivating documentary about the creation of, and reaction to, the breakthrough play "The Boys in the Band."
  17. Lord of the Dance in 3D
    The excitement factor only intermittently carries from the arena to the screen.
    • 76 Metascore
    • 90 Critic Score
    Bill Cunningham New York
    If the film suggests that there's something bittersweet about a life dedicated to a single pursuit cultivated with an almost religious fervor, it also stands in awe of its subject's seemingly inexhaustible, self-abnegating capacity to remain attuned to the expression of others.
  19. Cracks
    In many ways Cracks is lurid and rickety. But its gripping ensemble performances lend it an emotional intensity that outweighs its shortcomings.
  20. Winter in Wartime
    Winter in Wartime turns into a moderately gripping thriller with predictable plot twists and reversals.
  21. Nostalgia for the Light
    The film's passionate insistence on remembrance lends it a moral as well as a metaphysical weight. Mr. Guzmán's belief in eternal memory is an astounding leap of faith.
  22. The Lincoln Lawyer
    There are modest pleasures in a familiar story told differently enough that you're happy to keep guessing and watching.
  23. Win Win
    Win Win goes a bit soft in places, protecting its characters from serious danger or tough moral reckoning. But the film's niceness is also central to its appeal, because nearly all of the characters are people you enjoy spending time with.
  24. Paul
    While Paul seems great conceptually, he's not particularly interesting or surprising.
  25. Limitless
    An energetic, enjoyably preposterous compound - it's a paranoid thriller blended with pseudo-neuro-science fiction and catalyzed by a jolting dose of satire.
  26. The Desert of Forbidden Art
    The filmmakers found an appealing collection of relatives and others who knew these artists and Savitsky to tell the story, but they also let the art do the talking, with loving, lingering shots of the brightly colored works.
  27. Kill the Irishman
    An extravagantly corny ode to the collapse of the Cleveland mafia in the 1970s.
  28. Mars Needs Moms
    It seems that it's time to admit that dressing actors in LED-studded catsuits, asking them to give performances on sterile white sets and handing the results to a team of computer animators is not a way to make a good movie.
  29. Brotherhood
    The script, by Mr. Canon and Doug Simon, eventually strains credulity - even frat boys aren't this dumb - but Mr. Canon, in his first feature, shows a great knack for keeping things moving. The gathering implausibility is dispelled by a nice ending twist.
  30. Black Death
    Here, excessive piety and rampant paganism are equally malevolent forces, the film's baleful view of human nature mirrored in Sebastian Edschmid's swampy photography. As is emphasized in a nicely consistent coda, the Lord's side and the right side are not necessarily one and the same.
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