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. The Stoning of Soraya M.
    Thoroughly blurs the line between high-minded outrage and lurid torture-porn.
  2. Surveillance
    It seems doubtful that Surveillance, a would-be transgression that tries to squeeze dark laughs from the spectacle of human suffering, would be taking up space in theaters if its director were not the daughter of a name filmmaker.
  3. Quiet Chaos
    Thankfully, Mr. Grimaldi and the screenwriters have no great lessons to impart or messages to deliver, and the film, while uneven -- sometimes too on the nose, sometimes anecdotal and diffuse -- is generally absorbing, thanks mostly to the quality of the acting.
  4. Transformers: Revenge of the Fallen
    The man (Bay) just wears you out and wears you down, so much so that it’s easy to pretend that you’re not ingesting 2 hours and 30 minutes of warmongering along with all that dumb fun.
  5. Whatever Works
    None of it works. Or it works too hard. Whatever.
  6. The Proposal
    Ms. Bullock, who excels at playing spunky, is as appealing as usual, but the role proves as awkward as those heels.
  7. Year One
    A thoroughly, sometimes gaggingly broad and sly conceptual laugh-in.
  8. $9.99
    Though $9.99 manages to be quirky and enigmatic, it is in the end too self-conscious, too satisfied in its eccentricity, to achieve the full mysteriousness toward which it seems to aspire. It is odd, curious, intermittently intriguing but ultimately more interesting for its artifice than for its art.
  9. Dead Snow
    As is often the case with movies of this type, the real stars are the special-effects team, which does some admirably disgusting work.
  10. The End of the Line
    Well-researched and generally evenhanded in its delivery of information (Ted Danson provides the narration), the movie more than makes its points without needing to resort to a montage of adorable fish being bashed on the head.
  11. Under Our Skin
    Scary enough to make the faint of heart decide never to venture into the woods or to lie on the grass again without protective covering.
  12. Moon
    The film's ideas are interesting, but don't feel entirely worked out, and Mr. Rockwell's intriguingly strange performance (or performances) is left suspended, without the context that would give Sam's plight its full emotional and philosophical impact. The smallness of this movie is decidedly a virtue, but also, in the end, something of a limitation.
  13. Food, Inc.
    Time and again the movie stops short before it really gets started, as with the debates over the big business of organic food.
  14. The Taking of Pelham 1 2 3
    Even at a distance from each other (Washington/Travolta), they conduct a tag-team master class in old-style movie star technique, barreling through every cliché and nugget of corn the script has to offer with verve and conviction. Even when you don't really believe them, they're always a lot of fun to watch.
  15. Sex Positive
    The movie jolts you with the realization that the AIDS epidemic and the public debate about such issues have retreated so far under the news radar as to be half-forgotten.
  16. Youssou Ndour: I Bring What I Love
    Perhaps because the music is so good, with its purity of tone and dazzling rhythmic precision, the flaws of the surrounding movie become all the more obvious.
  17. Tetro
    As with "Youth Without Youth," this new movie feels like a transitional work but also an inspired one, the creation of a director who, having recently turned 70, has set off on a new adventure that requires more from his audiences than some might be willing to give. Which is itself a sign of vigorous artistic renewal.
  18. The Hangover
    But true to its title, The Hangover goes down smoothly enough and then kicks you in the head later on, when you start to examine the sources of your laughter.
  19. Séraphine
    The mystery of Séraphine de Senlis -- who died in a mental hospital in 1942 and whose work survives in some of the world’s leading museums -- is left intact at the end of Séraphine. Rather than trying to explain Séraphine, the film accepts her.
  20. Away We Go
    Does it sound as if I hate this movie? Don't be silly. But don't be fooled. This movie does not like you.
  21. Land of the Lost
    The only marginally interesting, if unsurprising, thing about the pricey movie spinoff of the junky children's television show Land of the Lost is that a lot of money has been spent on yet another cultural throwaway.
  22. My Life in Ruins
    Not likely to spur much tourism to Greece. The sights, though impressive, are not photographed interestingly, and the citizens of the host country are less than welcoming.
  23. Downloading Nancy
    A nasty exploitation flick tarted up with art-house actors and psychobabble.
  24. Tennessee
    It isn't saying much, but at least her (Carey) work here is more substantial than in the catastrophic "Glitter."
  25. 24 City
    The actors in 24 City bring their own existential realities to their short, touching performances. In the end, the deep emotions they stir up -- the actress Lv Liping delivers a harrowing story about a lost child -- constitute another kind of monument to the workers of Factory 420.
  26. Herb & Dorothy
    Interviews with artists whom they collected testify to their sharp eye and good spirits, while the Vogels themselves, sitting in their same old apartment, overflowing as ever, make for charming company.
  27. Unmistaken Child
    The beauty of the landscape and the monk’s sweetness, humility and good humor evoke a plane of existence, at once elevated and austere, that is humbling to contemplate. That said, Unmistaken Child offers no scholarly perspective on Tibetan Buddhism and leaves fundamental questions unanswered.
  28. Up
    Passages of glorious imagination are invariably matched by stock characters and banal story choices.
  29. Drag Me to Hell
    Drag Me to Hell has a tonic playfulness that’s unabashedly retro, an indulgent return to Mr. Raimi’s goofy, gooey roots.
  30. Departures
    Overlong, predictable in its plotting and utterly banal in its blending of comic whimsy and melodramatic pathos.
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