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. Cocaine Angel
    Harnessing the twin virtues of drollness and economy, Mr. Tully keeps scenes brief and melodrama on the margins.
  2. Breach
    One of the strengths of Breach, a thriller that manages to excite and unnerve despite our knowing the ending, is how well it captures the utter banality of this man and his world.
  3. Bridge to Terabithia
    Consistently smart and delicate as a spider web, Bridge to Terabithia is the kind of children’s movie rarely seen nowadays. And at a time when many public schools are being forced to cut music and art from the curriculum, the story’s insistence on the healing power of a nurtured imagination is both welcome and essential.
  4. Ghost Rider
    This dissociation leaves the supporting cast to its own devices, with no one suffering more than the appealing Eva Mendes as Johnny's true love, Roxanne. If Ms. Mendes ever finds a director willing to allow her to perform with her shirts fully buttoned, there will be no stopping her.
  5. Antibodies
    As is often the case when ambitious young filmmakers have murder and profit on their minds, Mr. Alvart is finally less interested in the nature of man than in the cool stuff you can do with a camera, which he tosses about the set, swooping it up and down and all around, without rhyme or reason.
  6. Avenue Montaigne
    Avenue Montaigne is a bonbon, not a bouillabaisse. But because this is finally a film about desire, it carries a bittersweet tang.
  7. Close to Home
    The movie, written and directed by Vidi Bilu and Dalia Hager, is really a study of people coping with excruciating boredom and the absurd aspects of military life.
    • tbd Metascore
    • 20 Critic Score
    The Boy Who Cried Bitch: The Adolescent Years
    The film is so clumsily written and directed, and the performances so one-note, that any potential for enlightenment is suffocated.
  9. Grbavica: The Land of My Dreams
    Throughout Grbavica the desire to forget and the need to remember are at loggerheads. At Sara’s school the psychological wounds of the war are being handed down to her generation through the separation of heroes and nonheroes. Fathers pass their weapons down to their sons. Even as you leave a war behind, you bring it with you.
  10. Eklavya: The Royal Guard
    The main tribute in Guard, however, is to Mr. Bachchan, an aging Bollywood monument (and father of the rising actor Abhishek Bachchan), whose sunken, heavy-lidded eyes, grizzled countenance and noble bearing indisputably convey the presence of a seasoned star.
    • 49 Metascore
    • 50 Critic Score
    Daddy's Little Girls
    As a director, Mr. Perry has his strong points, including a genuine interest in showing the resilience of African-American life and traditions (including church sermons and blues music, which are accorded equal significance here). But those aspects get lost in this turgid and ungainly film.
  12. Music and Lyrics
    While there is not much chemistry between Mr. Grant and Ms. Barrymore, they are professional enough to work with the movie's conceit while sending flickers of idiosyncratic charm off the screen.
  13. Bamako
    Bamako is something different: a work of cool intelligence and profound anger, a long, dense, argument that is also a haunting visual poem.
  14. Hannibal Rising
    Silly, slack and unforgivably tedious, Thomas Harris's screenplay is padded with interminable flashbacks and a bombastic score that telegraphs every emotion Hannibal represses. And there are a lot of them.
  15. Norbit
    Not exactly uproarious. But Mr. Murphy, going back at least to his Gumby and Buckwheat days on "Saturday Night Live," has always had the ability to turn broad caricature into something stranger and more inventive.
    • 37 Metascore
    • 60 Critic Score
    The Last Sin Eater
    Handsomely produced, earnestly performed and 100 percent irony-free, The Last Sin Eater is religious art for mainstream consumption.
    • 76 Metascore
    • 80 Critic Score
    Black Friday
    Epic and raw, Black Friday is cut from the same bloody cloth as "Salvador" and "Munich."
  18. Notes on Marie Menken
    Notes on Marie Menken shines a quavering if welcome ray of light on a largely forgotten figure in the American avant-garde film scene of the 1940s, ’50s and ’60s.
  19. Operation Homecoming: Writing the Wartime Experience
    The best pieces portray combat as such a heightened sensory experience that it demands to be written about, and they suggest that war can turn ordinary men who wouldn’t think of keeping diaries into latter-day Hemingways.
    • 38 Metascore
    • 70 Critic Score
    Burning Annie
    A thoroughly professional comedy, well paced, attractively photographed and smartly acted.
  21. The Decomposition of the Soul
    This kind of glance at history is a poor substitute for a hard, steady and expansive examination.
  22. Because I Said So
    A mild exercise in deliberate mediocrity, with chuckles and heartwarming moments distributed as carefully as nuts in a factory-made brownie. The movie's lack of ambition is hardly surprising, but both Ms. Moore and Ms. Keaton, who can wring flustered comedy out of the mildest provocation, deserve better.
    • 34 Metascore
    • 50 Critic Score
    The Messengers
    Like too many horror pictures, The Messengers becomes more boringly prosaic as it goes along, and there's an 11th-hour plot twist so dumb and poorly articulated that it destroys the movie. That's a shame, because shot for shot, the Pangs might be the most terrifying filmmakers alive.
  24. The Situation
    Exploitation cinema of the most narcoleptic kind.
  25. Fired!
    Feels like a desperate attempt to stretch a flimsy half-hour made-for-cable concept into a feature film.
  26. Puccini for Beginners
    It all looks easy when it's carried off this smoothly. But as any number of stilted duds can attest, applying a Philip Barry or Woody Allen sensibility to 21st-century New Yorkers in their 30s is as delicate a craft as diamond cutting.
    • 41 Metascore
    • 40 Critic Score
    Constellation
    If earnestness equaled skill, Constellation would be a classic.
    • 70 Metascore
    • 70 Critic Score
    East of Havana
    So much of American pop thrives on a bratty facsimile of courage that when you see the real deal, it's a revelation. East of Havana is the real deal.
  29. In the Pit
    With In the Pit [Rulfo] isn't advancing any totalizing theory, a treatise on transportation or an argument about alienation; he is, rather simply and elegantly, revealing the secret human face of a seemingly inhuman world.
    • 77 Metascore
    • 80 Critic Score
    Tazza: The High Rollers
    Bet on Tazza to entertain; you can't lose.
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