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. Henri Cartier-Bresson: The Impassioned Eye
    The documentary, which subscribes to the Great Man school of reverential portraiture, is not a biography but an interview (in French, simultaneously translated into English) conceived as a master class on art appreciation, with guest commentators augmenting Cartier-Bresson's own sparsely chosen words.
  2. Beyond the Rocks
    The faces of the stars glow with life, which makes you all the more grateful that this, their only film together, has come back.
  3. Film Geek
    Film Geek has a likable premise, an unusual setting in downtown Portland, Ore., and a pleasantly homemade indie feel. Unfortunately, Scotty Pelk, as written by James Westby and played by Mr. Malkasian, is actually so irritating, so genuinely hard to take, that like the rest of the characters in this semiautobiographical movie, we soon find ourselves itching to get away from him.
  4. Following Sean
    What emerges is a liberal meditation on freedom and compromise, and a nostalgia trip graced by eloquent restraint.
  5. State of Fear
    Pamela Yates's harrowing documentary chronicles 20 years of terror, brutality and repression.
  6. Fateless
    It represents something stranger and, to those of us with only a secondhand or thirdhand knowledge of that history, more disturbing: a survivor's conviction that there were aspects of the experience itself that can only be described as beautiful.
  7. Hostel
    Hostel is motivated by an adolescent urge to shock. And while it's true that no civilized person will remain unscathed by the film's relentless bigotry - this is one of the most misogynistic films ever made - Mr. Roth's gory spectacles are too calculated to deliver the transgressive jolts they so obviously seek.
  8. Grandma's Boy
    It cheerfully invites the audience to descend to their level, where no joke is too silly or raunchy, and a plot is just a way of passing time between game levels and bong hits.
  9. Kill the Poor
    There's potential here for an incendiary riff on gentrification and its discontents, but the result is only lukewarm. While the ensemble is as pungent as its assorted clichés will permit, the cruddy video photography and haphazard organization of plot blunt the wry thrust of the material.
  10. I Am Taraneh, I Am Fifteen Years Old
    Neither approves of nor condemns the choices made by its headstrong protagonist; rather, it quietly observes her transformation from naïve schoolgirl to wary but proud single mother.
  11. El carro
    A huge hit at home, El Carro here plays for mild laughs and gentle pathos, though it arrives a little lost in translation.
  12. Stryker
    The mostly unprofessional cast does a lot of shouting and swearing, and Mr. Henry's face has a haunting impassivity, but the film does not offer much in the way of social insight or credible emotion.
  13. Tau man ji D
    A slick but silly affair unlikely to appeal to anyone over the age of 15.
  14. The Promise
    The Promise occupies a curious landscape somewhere between opera and cartoon.
  15. Match Point
    The gloom of random, meaningless existence has rarely been so much fun, and Mr. Allen's bite has never been so sharp, or so deep. A movie this good is no laughing matter.
  16. Ich hiess Sabina Spielrein
    However fascinating the source material, there's something less than cinematic about 90 minutes of watching people read letters in front of windows.
  17. Wolf Creek
    The vogue for retro-horror, particularly the stripped-down shivers of 1970's slasher flicks, continues apace in this nasty little piece of work from Australia.
  18. Casanova
    In any case, what is on screen is a delightful respite from awards-season seriousness - a feather film, you might say, that actually tickles.
  19. Rumor Has It...
    I suppose Rumor Has It could be worse, though at the moment I'm at a loss to say just how.
  20. The New World
    If the affair seems strangely ethereal, as if it were taking place in another dimension, in a lovelier, more enchanted realm, it is because Mr. Malick is fashioning a countermythology in The New World, one to replace, or at least challenge, a mythology already in place.
  21. The Matador
    Because The Matador sustains a tone of screwball insouciance and keeps its trump card hidden up its sleeve, it must be counted as a well-made comic thriller. That doesn't mean it has any depth, credibility or artistic value beyond its capacity to divert.
  22. Munich
    More than anything, Munich is a slammin' entertainment filled with dazzling set pieces and geometric camerawork.
  23. Caché (Hidden)
    While this film can seem politically simplistic, it is nonetheless psychologically astute, and more complicated than it at first appears.
  24. The Ringer
    At the sweet heart of this silly film is a determination to upend the clichés and assumptions applied to the population we condescendingly label "special."
  25. The Intruder
    The best way to enjoy The Intruder is to surrender to its poetry without demanding cut-and-dried explanations.
  26. Cheaper by the Dozen 2
    This messy blend of silly slapstick and oversentimentality probably won't please children, teenagers or adults.
  27. Fun with Dick and Jane
    Mr. Carrey is such an attention hog that most actresses have a hard time holding on to their corner of the screen when he's onboard, especially in broader comedies. But Ms. Leoni never cedes her ground. Both performers exude such acute neediness - there's a touch of Jerry Lewis and Lucille Ball in their mutual frenzy - that not to love them even a little would seem cruel.
  28. The White Countess
    With its tentative pace, fussy, pieced-together structure and stuffy emotional climate, The White Countess never develops any narrative stamina.
  29. The Family Stone
    The women make The Family Stone, especially Ms. Parker, whose nimble performance is reason alone to see the film: not since Philippe Petit has anyone walked a tightrope with such finesse - and in high heels, no less.
  30. The Three Burials of Melquiades Estrada
    In a film filled with plaintively expressive faces, characters say as much when they don't talk as when they speak Mr. Arriaga's dialogue, which sometimes sounds like hardscrabble poetry, sometimes sounds real as dirt and is, rather surprisingly, often darkly funny.
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