The New York Times' Scores

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For 20,313 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: 9,401 out of 20313
  2. Mixed: 8,446 out of 20313
  3. Negative: 2,466 out of 20313
20313 movie reviews
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  1. In the Loop
    A sharply written, fast-talking, almost dementedly articulate satire on modern statecraft.
  2. Orphan
    There’s something creepy, and not pleasurably so, about watching children pantomime so much malice and fear.
  3. The Ugly Truth
    A cynical, clumsy, aptly titled attempt to cross the female-oriented romantic comedy with the male-oriented gross-out comedy that is interesting on several levels, none having to do with cinema.
  4. G-Force
    Manages to be fairly entertaining in that exhausting, rackety, late-summer-kiddie-movie way.
  5. The Answer Man
    Never shows enough passion to be interestingly bad.
  6. Shrink
    These characters are mostly too sketchy and their connections too contrived for Shrink to jell as an incisive ensemble piece.
  7. (500) Days of Summer
    Slight, charming and refreshingly candid little picture.
  8. A Woman in Berlin
    That the film manages to be understated, calm and intelligent in spite of its wrenching subject matter is perhaps its most impressive accomplishment. In avoiding sensationalism, it feels very close to the truth.
  9. Death in Love
    Death in Love hasn't a drop of humor or hope. Its dull, smudged look makes every environment appear joyless and claustrophobic.
  10. Homecoming
    Homecoming is coldly efficient for what it is. But what it is is trash.
  11. Off Jackson Avenue
    The lives of Olivia, Tomo, Milot and Joey converge in a climactic chase sequence as frantic as a Keystone Cops movie. By this time, grim realism has curdled into bleakly absurdist farce.
  12. Harry Potter and the Half-Blood Prince
    Much like its young hero, played by Daniel Radcliffe, the film has begun to show signs of stress around the edges, a bit of fatigue, or maybe that’s just my gnawing impatience.
  13. Somers Town
    An agreeable if slight, vaguely sketched character study times two.
  14. Bruno
    In spite of Mr. Baron Cohen and Mr. Charles’s high-level skills and keen low-comic instincts, Brüno is a lazy piece of work that panders more than it provokes.
  15. Humpday
    The movie’s unblinking observation of a friendship put to the test is amused, queasy making, kindhearted and unfailingly truthful.
  16. Blood: The Last Vampire
    Suffers from abusive close-ups, repetitive fight sequences and uninspired demon design.
  17. I Love You, Beth Cooper
    Drab and incoherent teen comedy.
  18. Soul Power
    Soul Power, as aptly and succinctly titled a movie as I have ever seen, takes you to a place where the discipline that produces great popular art is indistinguishable from the ecstasy that art creates.
  19. Yoo-Hoo, Mrs. Goldberg
    The film could be described as Exhibit A in a study of media celebrity and collective forgetfulness in the age of information overload.
  20. Lake Tahoe
    Exquisitely captured in natural light by the cinematographer Alexis Zabé, Juan’s journey is framed by sherbet-colored houses and lemon sidewalks, dipping palm fronds and a burnished, turquoise horizon. The director calls his style "artisan cinema"; I just call it dreamy.
  21. I Hate Valentine's Day
    You might blame Nora Ephron, whose screenplay for “When Harry Met Sally” established the formula that I Hate Valentine’s Day runs into the ground. Compared with this, Ms. Ephron is Chekhov.
  22. The Girl from Monaco
    If in the end the film is neither a cogent psychological thriller nor an effervescent sex comedy, it does at least have an interesting sense of place.
  23. Tony Manero
    More than an indelible portrait of a sociopath with the soul of a zombie, Tony Manero is an extremely dark meditation on borrowed cultural identity.
  24. The Beaches of Agnès
    The images are as delightful, unexpected and playfully uninhibited as Ms. Varda, perhaps the only filmmaker who has both won the Golden Lion at the Venice Film Festival and strolled around an art exhibition while costumed as a potato (not at the same time).
  25. Public Enemies
    A grave and beautiful work of art.
  26. Ice Age: Dawn of the Dinosaurs
    Couldn't the creative minds at the 20th Century Fox animation studios, hoping to wring a few hundred million dollars more out of their prized family-animation franchise, have come up with something more original?
  27. The Hurt Locker
    The best nondocumentary American feature made yet about the war in Iraq.
  28. My Sister's Keeper
    My Sister’s Keeper takes on a very tough subject -- and has, in Anna and Kate, two pretty tough characters played by strong young actresses -- but ultimately it is too soft, too easy, and it dissolves like a tear-soaked tissue.
  29. Afghan Star
    The movie uses the talent show Afghan Star as a prism through which to examine the fragmented tribal culture of Afghanistan as reflected in the backgrounds of four finalists (two of them women) and the public responses to their performances.
  30. Chéri
    There's something poignant about the image of this actress (Pfeiffer) sitting in a pool of sunlight without a smile or trace of visible makeup. But she's trying to reach a character that her director seems intent to keep from her grasp.
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