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. Blessed Is the Match: The Life and Death of Hannah Senesh
    Documents courage, but steers clear of character.
  2. The Lodger
    Prostitutes are not the only things butchered in The Lodger, a spooky story ruined by lumpen dialogue, cloddish performances and a director and writer (David Ondaatje) oblivious to both.
  3. Underworld: Rise of the Lycans
    Although the presence of Mr. Sheen is initially distracting, it soon becomes the movie's greatest asset. There is, as it turns out, some benefit to having a real performance even in a formulaic entertainment like this.
  4. Donkey Punch
    Until it plunges into gore, the movie remains above the typical splatter 'n' scream fest. These careless hedonists are convincing, and the ensemble acting feels believable; the orgy looks very real. But the realism turns to caricature once the panicked party monsters begin viciously turning on one another.
  5. Inkheart
    Aims for a blend of whimsy and tingly suspense but botches nearly every spell it tries to cast.
  6. Of Time and the City
    It is a deeply personal piece of art that never descends into the confessional or the therapeutic, and a work of social and literary criticism that never lectures or hectors, but rather, with melancholy, tenderness and wit, manages to sing.
  7. Chandni Chowk to China
    Starts too frantically but settles down to become an enjoyable if slight Saturday-matinee picture.
  8. Cherry Blossoms
    While Ms. Dörrie’s film is exquisitely shot, its themes and metaphors are obvious rather than subtle, and its emotional rhythms -- rueful laughter punctuating the pathos -- would not be out of place in a television drama.
  9. Hotel for Dogs
    Although you wouldn't want an entire movie devoted to such shenanigans, Hotel for Dogs isn't half as zany as it might have been.
  10. My Bloody Valentine
    A strange synergy of old and new, My Bloody Valentine 3D blends cutting-edge technology and old-school prosthetics to produce something both familiar and alien: gore you can believe in.
  11. Notorious
    Notorious settles into a curious comfort zone; it's half pop fable, half naturalistic docudrama. Not a bad movie, but nowhere near as strong as its soundtrack.
  12. Paul Blart: Mall Cop
    A tossed-off comedy from Adam Sandler's production company that makes one long for the comparative genius of "I Now Pronounce You Chuck & Larry."
  13. Bride Wars
    A dopey if largely painless romantic comedy.
  14. Not Easily Broken
    Mr. Duke’s filmmaking is functional at best, and the extreme shifts in emotional tone -- especially a late and disastrous swerve into tragedy -- are handled clumsily in Brian Bird’s script. Yet Not Easily Broken is not easily dismissed. For one thing, the cast is excellent, and for another, its intentions are serious and generous.
  15. The Unborn
    The film teeters so perilously and routinely at the edge of camp, both with some of its casting choices and some unfortunate dialogue (the repeated warning that "Jumby wants to be born now"), that it's hard to know if Mr. Goyer wants to make us howl with fear or laughter.
  16. Yonkers Joe
    For all its attention to detail, Yonkers Joe isn't half as tough as it pretends to be. The real story of these bottom-feeders and the sad young man they exploit is a lot uglier than the movie even begins to let on.
  17. Just Another Love Story
    It may not go anywhere in particular, but it is as exciting as a trip through a well-equipped, scary fun house.
  18. Silent Light
    The film was written, directed and somehow willed into unlikely existence by the extravagantly talented Carlos Reygadas, whose immersion in this exotic world feels so deep and true that it seems like an act of faith.
  19. Cargo 200
    Art house meets grind house in Cargo 200, Alexey Balabanov’s morbidly compelling thriller set in the Soviet Union.
  20. Defiance
    Defiance presents itself as an explicit correction of the cultural record, a counterpoint to all those lachrymose World War II tales of helplessness and victimhood. This is a perfectly honorable intention, but the problem is that, in setting out to overturn historical stereotypes of Jewish passivity, Mr. Zwick (who co-wrote the screenplay with Clayton Frohman) ends up affirming them.
  21. Good
    In Good, the anemic screen adaptation of C. P. Taylor's play about a respectable "good German" who passively acquiesces to Hitler's agenda, Viggo Mortensen, miscast and ineptly directed by Vicente Amorim, plays John Halder, a liberal, mild-mannered literature professor who becomes a Nazi.
  22. Revolutionary Road
    "Revolutionary Road" is the kind of great novel that Hollywood tends to botch, because much of it takes place inside the heads of its characters, and because the Wheelers aren't especially likeable and because pessimism without obvious redemption is a tough sell.
  23. Waltz with Bashir
    A memoir, a history lesson, a combat picture, a piece of investigative journalism and an altogether amazing film.
  24. The Curious Case of Benjamin Button
    Above all, The Curious Case of Benjamin Button is a triumph of technique.
  25. The Spirit
    What is most striking about The Spirit is how little pleasure it affords, in spite of its efforts to by sly, sexy, heartfelt and clever all at once.
  26. Bedtime Stories
    Soured by its enervated star and uninspired writing, the movie offers only tiny moments of joy, like a hailstorm of gumballs that's unexpectedly magical.
  27. Last Chance Harvey
    There’s something irresistible about watching two people fall in love, even in contrived, sniffle- and sometimes gag-inducing films like Last Chance Harvey.
  28. Marley & Me
    Bland, obsequious adaptation of John Grogan’s best-selling memoir.
  29. Valkyrie
    If Mr. Cruise doesn't work in Valkyrie, it's partly because he's too modern, too American and way too Tom Cruise to make sense in the role, but also because what passes for movie realism keeps changing, sometimes faster than even a star can change his brand.
  30. The Secret of the Grain
    An entire family chronicle, along with four decades of French social and economic history, is recapitulated as a lavish, hectic dinner, complete with music and belly dancing. It will leave you stunned and sated, having savored an intimate and sumptuous epic of elation and defeat, jealousy and tenderness, life and death, grain and fish.
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