The New York Times' Scores

For 20,323 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:
20323 movie reviews
  1. There are stunning locales but not much subtlety on display in Milarepa, a straight-as-an-arrow mythical-historical telling of a mystic’s early life.
  2. The reckoning with the past, which has occupied West German society since the 1960s, has been painful and divisive, which makes the calm, empirical spirit of this film all the more impressive.
    • 60 Metascore
    • 70 Critic Score
    Laid back and affectionate, “Cheese” is the movie version of a dear friend you could spend all day with.
    • 36 Metascore
    • 40 Critic Score
    Aside from a stunning three-minute tracking shot as the gang pursues Nick through a parking garage, and Mr. Bacon’s hauntingly pale, dark-eyed visage, Mr. Wan’s film is a tedious, pandering time-waster.
  3. On one level, a stereotypical mash of Greek cruelty, queer poetry slams and rabid activist rhetoric. But beneath the tired crudeness and college-romp clichés, the movie is gently perceptive about the malleable nature of sexuality and the barriers we construct to hide our confusion.
  4. An effervescent comedy coasting on the charisma of its stars.
  5. Think of it as a kind of “Twilight Zone 2007” in which the paranoia endemic to an industry that runs on illusion, hype and extravagant grandiosity comes home to roost.
    • 47 Metascore
    • 50 Critic Score
    The new Halloween has sympathy for the Devil, but not enough.
    • 73 Metascore
    • 80 Critic Score
    The movie is consistently engrossing and sometimes touching, thanks to its hard yet subtle characterizations and Mr. To’s refusal to condescend.
  6. Though buoyed by Anthony Marinelli’s moody score and Denis Maloney’s gutsy cinematography, Self-Medicated suffers from severe dramatic droop.
  7. Raunchier and somewhat more imaginative than “Hot Rod.”
  8. Despite some pretty seasonal photography and evocative scenes of the nuns’ rigorous daily rituals, which involve many hours of prayer, The Monastery is a flighty, disorganized film with a blurry timeline and a wandering attention span.
  9. A movie that reveals its toxic intentions only gradually. Until it does, there is much to enjoy in the prickly odd-couple relationship of Henry (Billy Crudup) and Rudy (Tom Wilkinson), successful writing partners and longtime friends.
  10. Again and again you want to shout at the screen: “Turn back. All will be forgiven.” This tale of risk, though, ends not with man conquering nature but in calamitous failure.
  11. Luridly earnest and laughably immoral, Illegal Tender is an old genre movie with a new look. Call it Hispanixploitation.
  12. The kids at my screening loved it. Besides, at its heart, Mr. Atkinson’s movie, a huge hit overseas, speaks in an international language.
  13. Because The Nanny Diaries is essentially a two-character story whose supporting players are wooden props, it would help if the actors playing the two were evenly matched. But Ms. Johansson’s Annie, who narrates the movie in a glum, plodding voice, is a leaden screen presence, devoid of charm and humor.
  14. For Mr. Lurie, who specializes in political subjects, Resurrecting the Champ is an encouraging return to film following the rise and fall of his television series "Commander in Chief."
  15. The film, especially in its resolution, feels a bit like a “Twilight Zone” episode and might have been better at that length, but the acting’s pretty good, and the cinematography keeps things lively.
    • 25 Metascore
    • 0 Critic Score
    The maudlin, grotesque western September Dawn, about the massacre on Sept. 11, 1857, of about 120 settlers by Mormons (and their Paiute Indian mercenaries), apes "Schindler’s List" in hopes of creating a Christian Holocaust picture.
  16. War
    Most regrettably, War squanders the considerable merits of its leads.
  17. Even naysayers of reality TV’s simplistic structure, which the film openly borrows, may find themselves rooting for a couple of choice -- and having fun in the process. The real-estate game can actually be a laughing matter when you’re not a contestant.
  18. At around the halfway point, its characters’ haranguing voices begin to grate on you. People in their early 20s, even pretty people, lose their appeal when they dwell this obsessively on their own inchoate turmoil.
    • 63 Metascore
    • 50 Critic Score
    Less notable for its story than for what the movie itself represents: an evolutionary entry in the so-called Do It Yourself (or D.I.Y.) independent film movement.
  19. Horny is as horny does in the sweetly absurd high school comedy Superbad.
    • 67 Metascore
    • 70 Critic Score
    There’s no dearth of rude humor on screens right now, but Death at a Funeral stands apart because its characters -- mostly reserved upper-middle-class British folk who have gathered to bury a patriarch -- are determined to keep a stiff upper lip no matter what.
    • 60 Metascore
    • 70 Critic Score
    The movie is scarier if you know nothing about it going in. It has no larger agenda. It’s not an allegory, a satire or a commentary. It’s just a modestly relentless suspense picture that propels its characters through a series of dreamscapes.
  20. Instead of seriously investigating corruption, money laundering and the buying of politicians, Manda Bala would rather spend its time showing slimy brown frogs slithering over one another as they are dumped from one container into another.
  21. An unnerving, surprisingly affecting documentary about our environmental calamity, is such essential viewing.
  22. Whatever the case, The Invasion lurches and drags and teeters on the brink of death from scene to scene; it plays as if it had been made by someone in a trance, though not a cool one.

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