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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    • tbd Metascore
    • 70 Critic Score
    Sacrifice
    Nonfiction doesn't quite describe what Ms. Bruno does. Her work takes risks with form to imply that individual suffering and transcendence are but particles in a river of spiritual energy that dwarfs geography and time.
  2. I Love You
    An unusually perceptive scrutiny of absence and emptiness.
  3. Pan's Labyrinth
    A swift and accessible entertainment, blunt in its power and exquisite in its effects.
  4. Perfume: The Story of a Murderer
    Try as it might to be refined and provocative, Perfume: The Story of a Murderer never rises above the pedestrian creepiness of its conceit.
  5. Miss Potter
    This much sweetness and light in a movie is all very well. But there's a reason that recipes for cake and cookies call for a pinch of salt. In Miss Potter, there is only a grain or two -- not enough to dilute the sugary overload. The film is the cinematic equivalent of a delicate English tea cake whose substance is buried under too many layers of icing.
  6. The Dead Girl
    Just when it seems as though the language of insult and humiliation couldn’t get any nastier, the movie escalates the barrage.
  7. Factory Girl
    The kindest thing to be said about this deluxe photo spread of a film is that Sienna Miller's Edie and Guy Pearce's Andy capture their characters' images and body language with relative precision.
  8. The Flying Scotsman
    A conventional underdog sports movie that should have been much more gripping.
  9. Unconscious
    If Unconscious consistently overplays its hand, its fusion of a Sherlock Holmes-style detective story (Alma is the master sleuth, and Salvador her Dr. Watson) with a delirious bedroom farce in the spirit of early Pedro Almodóvar is frequently very funny.
  10. Arthur and the Invisibles
    The computer-generated world is visually rich, but short on the droll humor that makes good children's films bearable for adults.
  11. The Tiger and the Snow
    A scorching affront to Italians, Iraqis and the intelligence of movie audiences everywhere.
  12. Notes on a Scandal
    The actors in Notes on a Scandal are equally distinguished: Ms. Dench and Ms. Blanchett are among the finest on the market today, and each can deliver expert performances, even when, as is the case here, their roles are false and hollow. The performers sell the goods, but the goods are cheap.
  13. Children of Men
    Children of Men may be something of a bummer, but it’s the kind of glorious bummer that lifts you to the rafters, transporting you with the greatness of its filmmaking.
  14. Black Christmas
    With a peephole-riddled set and a flashback-heavy screenplay, Black Christmas smothers terror beneath a blanket of unnecessary information, revealing too much and teasing too little.
  15. The Good Shepherd
    The most interesting thing about The Good Shepherd is how hard the filmmakers work not only to demystify the agency, but also to strip it of its allure, its heat.
  16. Night at the Museum
    This season's answer to "Dr. Seuss' How the Grinch Stole Christmas," it's an overstuffed grab bag in which lumps of coal are glued together with melted candy.
  17. We Are Marshall
    A movie like We Are Marshall stands or falls on its ability to make you feel the pain and loss of individuals in a place where community pride and football are one and the same. As the film, directed by McG (the "Charlie's Angels" movies) from a wooden screenplay by Jamie Linden, follows a handful of Huntington residents during the months after the accident, not one of them comes fully to life.
  18. Venus
    Since the movie is about desire -- not so much for sex as for the vitality and surprise that sex can provide -- it is also about power. Few writers can match Mr. Kureishi's knowing wit on this subject, or his skill at dissecting the shifting dynamics of longing and domination.
  19. Curse of the Golden Flower
    Since his debut in 1987 with "Red Sorghum" Mr. Zhang has made more controlled films but never one that's more fun. With Curse of the Golden Flower he aims for Shakespeare and winds up with Jacqueline Susann. And a good thing too.
  20. Letters from Iwo Jima
    A few scenes serve as hinges joining this movie to "Flags of Our Fathers." While Letters From Iwo Jima seems to me the more accomplished of the two films -- by which I mean that it strikes me as close to perfect -- the two enrich each other, and together achieve an extraordinary completeness.
  21. The Painted Veil
    Whether through craft or constitution, Mr. Norton invests Walter with a petty cruelty that makes his character’s emotional thaw and Kitty’s predicament all the more poignant.
  22. Rocky Balboa
    Surprisingly Rocky Balboa, is no embarrassment. Like its forerunners it goes the distance almost in spite of itself. It's all heart and no credibility except as a raw-boned fable.
  23. Chats perchés
    One can never get enough of this prodigiously talented octogenarian artist and his bestiary.
  24. Matthew Barney: No Restraint
    Alison Chernick's film skims the surface of a strange and celebrated career. After a meager 72 minutes, the man who once stretched an obsession with testicles into a five-film cycle remains as unknowable as ever.
  25. Dreamgirls
    The problem with “Dreamgirls” -- and it is not a small one -- lies in those songs, which are not just musically and lyrically pedestrian, but historically and idiomatically disastrous.
  26. The Good German
    In his genre pastiche The Good German, Steven Soderbergh has tried to resurrect the magic of classical Hollywood, principally by sucking out all the air, energy and pleasure from his own filmmaking.
  27. Breaking and Entering
    What saves Breaking and Entering from foundering altogether in earnest self-regard is Mr. Minghella's evident affection for London, a city of inexhaustible architectural and human variety.
  28. Charlotte's Web
    May not be perfect, but it honors its source and captures the key elements -- the humor and good sense, as well as the sheer narrative exuberance -- that have made White’s book a classic.
  29. Eragon
    If some of the characters won't be returning for the sequel, no matter. In all likelihood, neither will the audience.
  30. The Pursuit of Happyness
    It's the same old bootstraps story, an American dream artfully told, skillfully sold. To that calculated end, the filmmaking is seamless, unadorned, transparent, the better to serve Mr. Smith's warm expressiveness.
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