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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    • 50 Metascore
    • 50 Critic Score
    Step Up 2: The Streets
    An earnest sequel to the 2006 cornball musical drama “Step Up,” mixing new characters into the original’s setting.
  2. Ezra
    The movie’s sense of time is as vague as Ezra’s perception of it. Chaos is all he knows. Making Ezra even harder to follow, and undermining its authenticity, is the fact that its mostly African cast speaks in a heavily accented English. Mr. Kamara’s glowering lead performance, however, is riveting.
  3. The Band's Visit
    Mr. Kolirin, it emerges, is wrenching comedy out of intense melancholia.
  4. Fool's Gold
    Will Finn and Tess find the treasure before the bad guys? Will they put aside their differences and rekindle their love? Yes to both questions! I haven’t spoiled anything, by the way. But perhaps I’ve saved you some trouble.
  5. The Hottie & the Nottie
    Custom designed for its smirking star (who is also an executive producer), this tasteless train wreck asks only that she preen and prance on cue.
  6. In Bruges
    Mr. Gleeson, Mr. Farrell and especially the late-arriving and welcome Mr. Fiennes have great fun rummaging around inside Mr. McDonagh’s modest bag of tricks.
  7. Wild West Comedy Show: 30 Days & 30 Nights - Hollywood to the Heartland
    Though it includes some moderately funny snippets of actual performances, Wild West Comedy Show is not a concert film. We never see a complete performance or even a quarter of one.
    • 46 Metascore
    • 60 Critic Score
    Welcome Home, Roscoe Jenkins
    It’s a cut above other films of its type because every scene is packed with details like those pliers -- touches that suggest that the film’s writer and director, Malcolm D. Lee (“The Best Man”), is working overtime to smuggle life into formula.
  9. London to Brighton
    A slice of social realism, a wedge of naturalism, a symbolically freighted fairy tale -- at times, London to Brighton feels like all of these combined, which, before it all turns to mush, gives the film the aspect of a fascinating and ambitious pastiche. There’s something provocative about Mr. Williams’s attempt to join together so many conflicting, contradictory influences, even if in the end they manage only to cancel one another out.
    • 82 Metascore
    • 90 Critic Score
    A Walk to Beautiful
    A complex and quietly devastating indictment of chauvinist societies that see women as lovers, mothers and servants, and treat anyone who can’t fulfill those roles as a nonperson.
  11. Caramel
    You are likely to remember this charming film, directed by Nadine Labaki, less for its gently comic, mildly melodramatic plot than for its friendly and inviting atmosphere.
  12. The Eye
    Louder and more literal than its inspiration, The Eye benefits from a spiky performance by Alessandro Nivola as Sydney’s rehabilitation counselor. “Your eyes are not the problem,” he tells her at one point. He is so, so right.
  13. Hannah Montana & Miley Cyrus: Best of Both Worlds Concert
    What you do see are diverting 3-D effects and lots of playing to the camera by Ms. Cyrus, who performs as both herself and as her television alter ego, Hannah Montana. To her credit her attire isn’t tawdry, and it appears that she can sing.
  14. Over Her Dead Body
    For what it is -- a romantic comedy about the rivalry between a jealous ghost and a flaky psychic for the love of a veterinarian -- Over Her Dead Body is not bad.
  15. Praying with Lior
    Patiently and delicately, Ms. Trachtman teases out the tricky dynamics of a family dealing with a disabled child.
    • 12 Metascore
    • 20 Critic Score
    Strange Wilderness
    What rankles isn’t the gross-out humor or the verbal non sequiturs, which are expected, even welcome, in this sort of movie. It’s the smug sense of entitlement -- that of intoxicated dweebs tittering endlessly and obnoxiously at their own supposed cleverness. “Harold and Kumar Go to White Castle” is the gold standard in this genre. Strange Wilderness is a counterfeit bill.
  17. The Witnesses
    The Witnesses may frustrate those who prefer movies that tell clear-cut stories in which hard lessons are learned. But in the director’s farsighted vision of life, the ground under our feet is always shifting. As time pulls us forward, the shocks of the past are absorbed and the pain recedes. In its light-handed way, The Witnesses is profound.
  18. The Silence Before Bach
    The film demands engagement and a kind of surrender, a willingness to enter into a work shaped by correlation, metaphor and metonymy, by beautiful images and fragments of ideas, a work that locates the music in the twitching of a dog’s ears, in the curve of a woman’s belly, a child’s song and an adult’s reverie.
  19. Rambo
    The movie does have its own kind of blockheaded poetry.
    • 63 Metascore
    • 70 Critic Score
    How She Move
    There’s nary a twist you don’t see coming. But the film’s strong acting, spectacular dance routines and culturally specific details turn clichés into catharsis. It’s the sort of film that sends you home with a spring in your step.
  21. Meet the Spartans
    Overkill is what Jason Friedberg and Aaron Seltzer do best: as the uncontested titans of the parody genre (with fingers in everything from the “Scary Movie” franchise to the more recent “Epic Movie”) they continue to prove that ridiculing other movies is much easier than making your own.
  22. Untraceable
    You may view Untraceable, as I do, as a repugnant example of the voyeurism it pretends to condemn.
  23. Trailer Park Boys: The Movie
    Like a feature-length version of the television sitcom “My Name Is Earl,” only Canadian -- and not funny.
  24. The Air I Breathe
    An ingenious contraption that holds your attention for as long as it whirs and clicks like a mechanized Rubik’s Cube. After it’s over, however, you may find yourself scratching your head and wondering if there was any purpose to this sleek little gizmo.
  25. Lost in Beijing
    In spite of its raw, explicit moments, the film is at heart a sturdy morality tale about innocence and corruption, wealth and want, sex and power.
  26. Alice's House
    Chico Teixeira’s languid, libidinous Alice’s House is the best argument against marriage and motherhood to appear in many a year.
  27. 4 Months, 3 Weeks and 2 Days
    It’s a pitiless, violent story that in its telling becomes a haunting and haunted intellectual and aesthetic achievement.
    • 83 Metascore
    • 100 Critic Score
    U2 3D
    Not merely a technical landmark -- shot entirely in digital 3D -- but also an aesthetic one, in that it’s the first Imax movie that deserves to be called a work of art.
  29. Summer Palace
    In Summer Palace Lou nonetheless succeeds in finding a cinematic language that does more than summarize the important events of a confusing decade. He distills the inner confusion -- the swirl of moods, whims and needs -- that is the lived and living essence of history.
  30. Teeth
    Teenage horror-movie spoof, John Waters parody, No Nukes protest movie, twisted sex-education film, quasi-feminist fable, outrageous stunt: Mitchell Lichtenstein’s clever, crude comedy, Teeth, is all these and more.
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