The New York Times' Scores

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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:
  1. Positive: 9,408 out of 20323
  2. Mixed: 8,448 out of 20323
  3. Negative: 2,467 out of 20323
20323 movie reviews
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  1. Strike
    Schlöndorff calls the film "a ballad inspired by true events," and its occasional bouts of clumsiness and sentimentality are inseparable from its power.
    • 65 Metascore
    • 70 Critic Score
    Beyond Hatred
    An example of a film whose style doesn’t merely suit its story but amplifies its meanings.
  3. Jhoom Barabar Jhoom
    A giddy romantic comedy with star power.
  4. Czech Dream
    When they discover they've been made fools of, they accept this performance event with surprising equanimity. There is a lot of grumbling but no riot. They get the joke.
    • 51 Metascore
    • 80 Critic Score
    Macbeth
    For four centuries William Shakespeare’s plays have been reinvented to fit contemporary sensibilities. But few recent efforts can match the Australian writer and director Geoffrey Wright’s brutal and thrilling new version.
    • 59 Metascore
    • 50 Critic Score
    Noriko's Dinner Table
    This 159-minute feature doesn't quite cohere. Mr. Sono's direction is haphazard; he oversells the first half's whimsical touches and the second half's spiral-of-doom emoting. Still, the movie is worth seeing, if only to experience a small story with impossibly grand ambitions.
  7. Lights in the Dusk
    This spare, minimalist film is not realistic. It has the simplicity of a silent movie, and the blocking of the actors, especially in the scenes with Koistinen and Mirja, emphasizes the distances between them.
  8. Ocean's Thirteen
    "Ocean's 23," oops, Ocean's Thirteen, is also a gas; it's lighter than air, prettier than life, a romp, a goof and an attentively oiled machine.
  9. Hostel: Part II
    Mr. Roth, part of a new breed of horror directors affectionately labeled the "Splat Pack," is regarded by some as a savior of the genre, though it could be argued that he is more effectively a saboteur. He might have mastered the cheap sadism-as-entertainment gross-out, but he has yet to produce a single genuine, old-fashioned fright.
  10. Surf's Up
    Has a friendly, blue-collar vibe (Cody is an ex-fish-sorter from the Shiverpool, Antarctica) and some sly, low-key humor. Nevertheless, a moratorium on penguins might be called for, despite the inevitable anthropomorphic void.
  11. La Vie en Rose
    La Vie en Rose, which Mr. Dahan wrote as well as directed, has an intricate structure, which is a polite way of saying that it's a complete mess... In the end, as often happens in movies of this kind, La Vie en Rose is saved by Piaf herself.
    • 64 Metascore
    • 70 Critic Score
    You're Gonna Miss Me
    Luckily, the director Keven McAlester keeps Mr. Erickson's humanity front and center. He lets music critics and musicians praise Mr. Erickson's smiling banshee voice (which influenced Janis Joplin) and pioneering use of feedback, but he doesn't insist on his subject's genius or oversell his importance.
    • 18 Metascore
    • 20 Critic Score
    Miriam
    The title role is played by Ariana Savalas, daughter of Telly. She's good, but not inventive enough to rescue Miriam, which is hobbled by flatly lighted video imagery, unconvincing period details and an inclination to wallow in atrocity.
  14. 12:08 East of Bucharest
    Though it is modest, almost anecdotal, in scale, 12:08 East of Bucharest is also characterized by a precise and sneaky formal wit.
    • tbd Metascore
    • 50 Critic Score
    Otoshimono
    The movie ultimately proves more unnerving than terrifying, and the monster, which probably shouldn't have been revealed in quite so much detail, looks too much like the title character of "Bride of Chucky," only with eyes in the back of her mossy head.
  16. Knocked Up
    An instant classic, a comedy that captures the sexual confusion and moral ambivalence of our moment without straining, pandering or preaching.
  17. Gracie
    A familiar underdog story told with unusual sensitivity.
  18. Mr. Brooks
    A werewolf movie masquerading as a thriller, it looks like a canny attempt by Bruce A. Evans, its director and screenwriter (with Raynold Gideon), to establish a "Saw"-like franchise using the names of fading ’80s stars to lend the project a semblance of respectability.
  19. Crazy Love
    The overall vibe is morbidly entertaining, though something of a downer, partly because it's unclear if Mr. and Mrs. Pugach know that they are such sick puppies, partly because it's unclear if Mr. Klores cares that they are.
  20. Day Watch
    Unfolding in a decrepit, present-day Moscow, Day Watch dazzles and confuses with equal determination.
  21. I'm Reed Fish
    Sweetness and whimsy fill the screen to capacity in I'm Reed Fish, a rural coming-of-age tale that's so laid-back that its cast is almost horizontal.
  22. Ten Canoes
    There is nothing more enthralling than a good yarn, and Ten Canoes interweaves two versions of the same story, one filmed in black and white and set a thousand years ago, and an even older one, filmed in color and set in a mythic, prehistoric past.
  23. Pierrepoint
    In Pierrepoint:The Last Hangman Timothy Spall sinks his teeth into one of the juiciest roles of his career.
    • 60 Metascore
    • 70 Critic Score
    Radiant City
    The cinematographer Patrick McLaughlin's eerie, sometimes monumental images italicize the experts' statements, making the suburbs seem like an asphalt-and-Sheetrock dreamscape where democracy goes to die.
  25. Bug
    The escalating hysteria and grisly set pieces of Bug may strain credulity, but Ms. Judd has never been more believable as a woman condemned to attract the wrong kind of man.
  26. Pirates of the Caribbean: At World's End
    The cannibals, coconuts and landlocked locations have been replaced by the high-seas high jinks that made the first film so enjoyable.
  27. Angel-A
    Rie Rasmussen and Jamel Debbouze, the stars who portray Angela, the celestial therapist, and André, her star patient, display enough screwball romantic charm to keep this sugary trifle afloat longer than you'd expect.
  28. Golden Door
    What makes Mr. Crialese's telling unusual, apart from the gorgeousness of his wide-screen compositions, is that his emphasis is on departure and transition, rather than arrival.
  29. Paprika
    A gorgeous riot of future-shock ideas and brightly animated imagery, the doors of perception never close.
  30. Steel City
    Mostly Mr. Jun's script is sharp, and Laurie Metcalf, James McDaniel, America Ferrera and Raymond J. Barry in supporting roles help keep the tale mesmerizing, in a small-scale sort of way.
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