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. I Think I Love My Wife
    Mr. Rock has not only done his best work as a director and screenwriter but has also made an unusually insightful and funny mainstream American movie about the predicaments of modern marriage.
  2. Premonition
    The sloppy, absent-minded Premonition is a giant step backward for Ms. Bullock.
    • 33 Metascore
    • 40 Critic Score
    My Brother
    The movie's strongest element is the chemistry between the reflective Mr. Kearse and Mr. Scott (who really has Down syndrome). Improving on its obvious antecedent in "Dominick and Eugene," their relationship feels real, not like a movie contrivance.
  4. The Wind That Shakes the Barley
    The history presented in The Wind That Shakes the Barley hardly feels like a closed book or a museum display. It is as alive and as troubling as anything on the evening news, though far more thoughtful and beautiful.
    • 51 Metascore
    • 50 Critic Score
    Adam's Apples
    Smart-aleck comedy and spirituality aren't incompatible, but in Adam's Apples they cancel each other out.
  6. American Cannibal: The Road to Reality
    The documentary illustrates the premise that if you lie down with dogs, you wake up with fleas. Until everything collapses, and the filmmakers are left grasping at straws, it's absorbing in a sick way.
  7. Blockade
    It all has a ghostly feel, like eerie murmurs during a séance: the static of history heard on a short-wave radio.
  8. The Go Master
    Gorgeously shot, moving through the decades in a gentle adagio, it is less a chronicle than a tribute -- and also, to non-initiates in the game of go, a bit of a puzzle.
  9. 300
    Another movie -- Matt Stone and Trey Parker's "Team America," whose wooden puppets were more compelling actors than most of the cast of 300 -- calculated the cost [of freedom] at $1.05. I would happily pay a nickel less, in quarters or arcade tokens, for a vigorous 10-minute session with the video game that 300 aspires to become.
  10. The Host
    The Host is a cautionary environmental tale about the domination of nature and the costs of human folly, and it may send chills up your spine. But only one will tickle your fancy and make you cry encore, not just uncle.
  11. Beyond the Gates
    Though less reassuring and not as dramatically coherent as "Hotel Rwanda," it still packs a hard punch.
  12. Maxed Out: Hard Times, Easy Credit and the Era of Predatory Lenders
    Although Maxed Out would like to be this year’s "Enron: The Smartest Guys in the Room," it doesn’t measure up. "Enron" was a stronger film because its focus was specific, the personalities under its microscope were outsize, and its story had a beginning, middle and end. Maxed Out, which has no narrator, gathers facts, opinions and impressions and tosses them into a blender. And its story is still unfinished.
  13. The Namesake
    The Namesake, adapted from Jhumpa Lahiri’s popular novel, conveys a palpable sense of people as living, breathing creatures who are far more complex than their words might indicate.
  14. The Ultimate Gift
    Reeking of self-righteousness and moral reprimand, Michael O. Sajbel’s Ultimate Gift”is a hairball of good-for-you filmmaking.
  15. The Exterminating Angels
    One of Mr. Brisseau's subjects is the volatility of desire, the way the path of erotic curiosity can swerve from satisfaction into recrimination and confusion. A porno-philosopher in the venerable French tradition, he blends a frank appeal to the audience's nether regions with some teasing attention to its mind.
  16. The Border Post
    Border Post is notable for representing all of Yugoslavia's former member republics among its producers and for a tone that juggles humor and harshness without sacrificing either.
  17. Zodiac
    Rarely has a film with so much blood on its hands seemed so insistently alive.
  18. Wild Hogs
    Mr. Lawrence and Mr. Allen, who have never aspired very far beyond their affable television-comedy personas, are easier to watch than Mr. Travolta or Mr. Macy, who both undertake what can only be called acting. This is more than the picture deserves, but then again, so is Ray Liotta, as the chieftain of the bad bikers, and so is Ms. Tomei.
  19. The Cats of Mirikitani
    The result is a movie that evolves naturally from the filmmaker's compassion for her subject; as much as possible, she remains off camera, and her immense act of charity is never permitted to become the film's focus. Instead this remarkable documentary offers a brief but satisfying look at a defiantly self-sufficient life.
  20. Black Snake Moan
    In spite of Amelia Vincent's toothsome cinematography and the down-home locations, the movie often has the lumbering, literal-minded rhythms of a second-rate stage play -- not a moan or a howl, but a slow, anxious groan.
  21. Into Great Silence
    I hesitate, given the early date and the project's modesty, to call Into Great Silence one of the best films of the year. I prefer to think of it as the antidote to all of the others.
  22. Wild Tigers I Have Known
    Like "Twelve and Holding," another film from last year's New Directors series, Wild Tigers achingly sympathizes with the desperate lengths an obsessed adolescent will go to in pursuit of love. As you watch the movie, you pray that, in the language of "Tea and Sympathy," the future teachers of Logan's life lessons will "be kind."
  23. The Astronaut Farmer
    The opening shots, of Farmer on horseback in his space suit, hint at a strangeness that the rest of the movie never quite lives up to, but it does have a visual freshness that makes the bromides and clichés palatable.
  24. Reno 911!: Miami
    What feels amusingly anarchic on the small screen feels underdeveloped and disjointed on the big screen, perhaps because instead of commercials gluing the jokes together there’s dead air.
  25. The Abandoned
    After a while, Mr. Cerdà exhausts his repertory of spooky effects -- too many dark hallways and illogical, foreboding point-of-view shots -- and you begin to hunger for exposition, always a bad sign in a horror film. Even worse is that, by the time the explanations arrive, you no longer care.
  26. Amazing Grace
    The overall effect is part BBC-style biography, part Hollywood-like hagiography, and generally pleasing and often moving, even when the story wobbles off the historical rails or becomes bogged down in dopey romance.
  27. Gray Matters
    Compared to Gray Matters, even a Nora Ephron bonbon has the weight of urban neo-realism.
  28. Starter for 10
    Starter for Ten offsets its rite-of-passage clichés with relaxed performances and an extremely likable lead.
  29. The Taste of Tea
    A bit of patience is required to get through The Taste of Tea, but patience is often rewarded, and it certainly is by this droll and oddly touching film.
  30. The Wayward Cloud
    It feels willed, aggressive and unconvincing -- clammy rather than cool -- in a way that suggests artistic frustration rather than discovery. The water shortage may be a metaphor for the director’s creative desiccation, which his admirers can only hope is temporary.
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