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. You, Me and Dupree
    A limp attempt to wed a romantic comedy to a buddy comedy, largely because the filmmakers see women as visitors from another planet, which is more or less what they now are in Hollywood.
  2. Changing Times
    In Changing Times, Mr. Téchiné, the great French director, is near the peak of his form. Weaving a half dozen subplots, he creates a set of variations on the theme of divided sensibilities tugging one another into states of perpetual unrest and possible happiness.
  3. Mini's First Time
    Delectably vulgar for 20 minutes or so, almost too bad to be true, but because it lacks the demented conviction of real camp, the glint of madness that keeps a bauble like "Valley of the Dolls" afloat, it soon loses its cheap-thrills appeal.
  4. The Oh in Ohio
    A feel-good movie about feeling good, The Oh in Ohio thrums with happy vibes and amiable performances.
  5. Time to Leave
    Time to Leave subordinates narrative to mood. Since the end of the story is never in doubt, the only surprises lie in the particulars of Romain’s behavior and the nuances of sorrow, determination and doubt that pass over Mr. Poupaud’s face.
  6. Edmond
    Mr. Macy, a master at playing sticks of human dynamite in mild-mannered camouflage, gives the nerviest screen performance of his career.
  7. Gabrielle
    Together with his extraordinary performers, Mr. Chéreau breathes life into characters who long ago set a course for death.
  8. Overlord [re-release]
    Like its hero, who is brave without a trace of bravado, Overlord is unusually quiet and thoughtful. The scale and ambition of combat movies has usually been epic, but this one is disarmingly lyrical and subjective.
  9. The Groomsmen
    The biggest hole in a movie that falls sadly short of being another "Diner" or "Trees Lounge" is Mr. Burns's failure to make his alter-ego character anything other than the best-looking and most affluent member of the pack, standing there and discreetly gloating.
  10. Two Sons of Francisco
    Similar stories in the United States tend to be turned into made-for-television mush. This one is manipulative in its own way, but it casts a sweet spell nonetheless.
  11. The Color of Olives
    Using only natural light, Ms. Rivas and Mr. Sarhandi frame everything with an artistry that belies the difficulty of their working conditions, creating a film as unhurried and dignified as the Amer family itself.
  12. Pirates of the Caribbean: Dead Man's Chest
    It batters you with novelty and works so hard to top itself that exhaustion sets in long before the second hour is over.
  13. A Scanner Darkly
    Rotoscoping makes certain sense for a film about cognitive dissonance and alternative realities, though both the vocal and gestural performances by Mr. Reeves, Mr. Harrelson and, in particular, the wonderful Mr. Downey make me wish that we were watching them in live action.
  14. Beowulf & Grendel
    With all the mystery and meaning sucked from the story, the filmmakers do what filmmakers often do when faced with their own lack of imagination: they toss a little sex in with the violence.
  15. Kill Your Idols
    Despite his access to both No Wave luminaries and atmospherically battered footage of various bands wreaking havoc at various venues, Mr. Crary never figures out what story he wants to tell.
  16. Once in a Lifetime: The Extraordinary Story of the New York Cosmos
    This is a movie so unabashedly in love with its subject that even audiences who don't know Giorgio Chinaglia from Georgie Best will leave the theater grinning.
  17. Heading South
    A beautifully written, seamlessly directed film with award-worthy performances by Ms. Rampling and Ms. Young.
  18. Guernsey
    Of all the modes of modern alienation, there is none so persistent and arbitrary as finding oneself trapped in a glacially paced European art film.
  19. Twelve Disciples of Nelson Mandela
    A fascinating glimpse not just of the early campaigns of the African National Congress, but also of the way childhood memories can obscure larger truths.
  20. Urbanscapes
    As indicated by the title, this documentary tends toward the general, abstract and vague, though some detail and much charm are achieved by the choice of commentators.
  21. The Devil Wears Prada
    Miranda is played by Meryl Streep, an actress who carries nuance in her every pore, and who endows even her lighthearted comic roles with a rich implication of inner life. With her silver hair and pale skin, her whispery diction as perfect as her posture, Ms. Streep's Miranda inspires both terror and a measure of awe.
  22. The Blood of My Brother
    Though Mr. Berends strays too often, he does so down some compelling paths. His material is intimate and hair-raising, granting us rare access to scenes inside mosques, at a Shiite militia rally and in homes under fire.
  23. The Great Yokai War
    Narrative coherence is perhaps not among the film's virtues, but its loopy, cluttered story is part of the fun. And a clearer, simpler plot might have required the sacrifice of some delightful grace notes and visual marvels, like the elastic-necked geisha or the one-eyed ambulatory umbrella.
  24. There's No One Like You
    Krrish is overlong, schmaltzy, wholly derivative and sprinkled with underwhelming song-and-dance numbers. Coming from anywhere else, these elements might be considered glaring flaws. In Bollywood they are not only expected, but often, as in this film, they also appear as virtues.
  25. Superman Returns
    It's hard to see what the point is beyond the usual grandiosity that comes whenever B-movie material is pumped up with ambition and money.
  26. The Motel
    Michael Kang's small, perfectly observed portrait of Ernest Chin (Jeffrey Chyau), a Chinese-American boy who lives and works in a dingy downscale motel operated by his mother, captures the glum desperation of inhabiting the biological limbo of early adolescence.
  27. Strangers with Candy
    Devotees of the series, admirers of Ms. Sedaris and fake-news junkies who can never get enough of Mr. Colbert will find reasons to see it and to convince themselves that it is funnier and more satisfying than it really is. Count me in.
  28. Who Killed the Electric Car?
    A murder mystery, a call to arms and an effective inducement to rage, Who Killed the Electric Car? is the latest and one of the more successful additions to the growing ranks of issue-oriented documentaries.
  29. Room
    Room is an existential horror film, a parable of the war against terror being waged in Julia's psyche.
  30. Rank
    As thorough an examination of the sport as you could hope to squeeze into 90 taut, well-organized minutes.
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