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. Paranoid Park
    A haunting, voluptuously beautiful portrait of a teenage boy who, after being suddenly caught in midflight, falls to earth.
  2. Snow Angels
    For a film full of murder, jealousy and fatalism, Snow Angels feels curiously small and anecdotal, and its impact diminishes as it nears its terrible conclusion.
  3. CJ7
    A devilishly entertaining curveball thrown at unsuspecting family audiences.
    • 64 Metascore
    • 60 Critic Score
    Fighting for Life
    Some of the most upsetting images are from a century and a half ago: Mathew Brady photos of the Battle of Antietam during the Civil War, the conflict that gave birth to modern battlefield surgery.
  5. Girls Rock!
    A jubilant documentary about a place where power chords and empowerment go hand in hand.
  6. Blindsight
    Featuring exceptional people doing extraordinary things, Blindsight is one of those documentaries with the power to make you re-examine your entire life -- or at least get off the couch.
  7. City of Men
    City of Men has a more humane, you might say bleeding-heart, perspective on this anarchic culture than “City of God.”
  8. Vivere
    Almost holding things together is the marvelous Ms. Elsner: there’s more depth in her weary gaze and disappointed mouth than in any line of dialogue. Not since Bette Davis lit and flicked has smoking been so evocative, or so heartbreaking.
    • 46 Metascore
    • 50 Critic Score
    Bonneville
    Except for Ms. Lange’s silent, expressive close-ups, which render flashbacks unnecessary, the women’s journey is aesthetically and dramatically unremarkable.
  10. Chicago 10
    Brett Morgen’s semi-animated, semi-documentary attempt to make the ’60s cool for a new generation of kids, does the opposite. It is a narrow, glib dollop of canned history, an affirmation of received thinking rather than a challenge to it.
  11. The Other Boleyn Girl
    Forced to compete for kingly favors, the women were soon rivals, a contest that, in its few meagerly entertaining moments, recalls the sisterly love in “What Ever Happened to Baby Jane?”
  12. Penelope
    A hopeless jumble of visual and linguistic styles.
    • 47 Metascore
    • 70 Critic Score
    Semi-Pro
    Semi-Pro finds the sweet spot between sports melodrama and parody, and hammers it for 90 diverting minutes.
  14. The Unforeseen
    There’s nothing wrong with Mr. Redford and his love of nature. But there’s something irritatingly softheaded about the generic, nostalgia-tinged blandishments that the film finally resorts to -- a Wendell Berry poem, a grizzled old farmer wielding a sickle -- in place of truly hard questions and solutions that may effect meaningful change. With the polar ice caps melting, I want more than poetry and blame. I want a plan.
  15. Jar City
    Jar City is chilly and cerebral but also morbidly and powerfully alive to grossness and physicality.
  16. Chop Shop
    There is nonetheless a lyricism at its heart, an unsentimental, soulful appreciation of the grace that resides in even the meanest struggle for survival.
  17. Charlie Bartlett
    If the attention span of Charlie Bartlett didn’t wander here and there, the movie might have been a high school satire worthy of comparison with Alexander Payne’s “Election.” But as it dashes around and eventually turns soft, it loses its train of thought.
    • 63 Metascore
    • 60 Critic Score
    The Signal
    Part 1, directed by David Bruckner is superb, with affecting performances, a sense of dread reminiscent of John Carpenter’s “Prince of Darkness” and many striking images. Part 2, directed by Dan Bush aims for George Romero-style ghastly humor, but it’s more grating than funny. Part 3, directed by Jacob Gentry adds a splash of tragic love, but its preference for gore over feeling becomes monotonous.
  19. Cover
    The sledgehammer message is clear: Best friends can help when you need a McMansion, but only God can help when your husband needs a man.
  20. Be Kind Rewind
    In its sweet, lackadaisical way, Michel Gondry’s Be Kind Rewind illuminates the pleasures and paradoxes of movie love.
  21. The Counterfeiters
    The Counterfeiters is a swift and suspenseful thriller, and perhaps a little too entertaining for its own good.
  22. Vantage Point
    This is competent if completely impersonal filmmaking of a familiar type that finds the usual allotment of famous, or at least famous enough, actors.
    • 17 Metascore
    • 40 Critic Score
    Witless Protection
    The slapstick and action set pieces are lame, and its performances range from competent to annoying.
  24. The Duchess of Langeais
    Duchess of Langeais seems to me a nearly impeccable work of art -- beautiful, true, profound.
  25. Evangelion: 1.0 You Are (Not) Alone
    When the material is condensed, nearly everything that made the first two-thirds of the television series distinctive _ — the deliberate pace, the wry humor, the subtle (for anime) characterizations — is lost. “Evangelion” becomes just another giant-robot story.
  26. Diary of the Dead
    The body has its needs, and one of the problems with Diary of the Dead is that it doesn’t get into your body; it doesn’t shake you up, jolt you, make you shiver and squeak. It’s clever, or at least clever enough to keep you going and interested from start to finish. It just isn’t scary.
  27. The Year My Parents Went on Vacation
    The performances are charming and convincing, and Mr. Joelsas does a good job of conveying Mauro’s loneliness and confusion as well as his playfulness. The Year My Parents Went on Vacation may not be terribly fresh or original, but its warm, sweet, nostalgic tone is hard to dislike.
  28. Definitely, Maybe
    A nimble and winning little romance
  29. Jumper
    A barely coherent genre mishmash.
  30. The Spiderwick Chronicles
    Instead of the kind of inspired imaginative synergy that distinguished the “Lord of the Rings” and later “Harry Potter” pictures, this movie, directed by Mark Waters (“Mean Girls”), feels more like a sloppy, secondhand pander.
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