The New York Times' Scores

For 9,713 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 This Is Not a Film
Lowest review score: 0 Alien Girl
Score distribution:
9,713 movie reviews
  1. Bolstered by animated re-enactments and Bob Richman's frosty cinematography, Unraveled is a mesmerizing one-man dive into narcissism, entitlement and unchecked greed.
  2. Mr. Hong's casually brilliant feat of storytelling, akin to an ingeniously wrought suite of literary short fiction.
  3. Mr. Urzendowsky, with his dark curls, fine cheekbones and sad eyes, is a very credible first love, while Ms. Créton uncannily captures Camille's resolution as well as her almost willful vulnerability.
  4. Marley is a detailed, finely edited character study whose theme - Marley's bid to reconcile his divided racial legacy - defined his music and his life.
  5. The Day He Arrives has real force and its experimentation is in the service of a moving story about a man who, as he says at the start, has nowhere to go. And so he returns to a bar, a woman and situations that are always the same and yet always different - snow falls during one kiss but not another - playing a director whose life resembles a movie he keeps remaking.
  6. The movie is a curiosity cabinet of visual pleasures but so breezy and lightly funny that you may not realize at first how good it is.
  7. Gaudily vibrant, at times morbidly funny.
  8. Dark Shadows isn't among Mr. Burton's most richly realized works, but it's very enjoyable, visually sumptuous and, despite its lugubrious source material and a sporadic tremor of violence, surprisingly effervescent.
  9. The film skillfully interweaves several strands to tell a true story with a happy ending.
  10. The dead are unquiet and the living are terrified in The Road, a powerfully atmospheric blend of ghostly encounters, horrific situations and missing-persons mysteries from the Philippine director Yam Laranas.
  11. If he is a self-revealing writer, it is not in the usual, confessional sense, but rather because he seems so strongly present in his books, with a personality that is both the source and aftereffect of the prose.
  12. The messiness of the film seems appropriate to its subject, which is the attempt to bring at least a measure of order - and even a touch of grace - to a chaotic and frequently ugly reality.
  13. Along the way comes a bracing, honest confession about these interactive creations, voiced by one designer but no doubt applying to many more makers of all kinds: "I made it for myself."
  14. Moonrise Kingdom breezes along with a beautifully coordinated admixture of droll humor, deadpan and slapstick. Like all of Mr. Anderson's films, though, there's a deep, pervasive melancholia here too.
  15. American fans of "The Hunger Games" may not embrace - or even be permitted to see - Battle Royale, which is too bad. It is in many ways a better movie and in any case a fascinating companion, drawn from a parallel cultural universe. It is a lot uglier and also, perversely, a lot more fun.
  16. 5 Broken Cameras deserves to be appreciated for the lyrical delicacy of his voice and the precision of his eye. That it is almost possible to look at the film this way - to foresee a time when it might be understood, above all, as a film - may be the only concrete hope Mr. Burnat and Mr. Davidi have to offer.
  17. This movie is graceful, subtle and sure-footed, much as its English title implies.
  18. Mr. Solondz brilliantly - triumphantly - turns this impression on its head, transforming what might have been an exercise in easy satirical cruelty into a tremendously moving argument for the necessity of compassion.
  19. Patang ("The Kite"), Prashant Bhargava's first feature, has a lovely, unforced quality. That's because Mr. Bhargava lets his story, set during the annual kite festival in Ahmedabad, India, tell itself, unfolding slowly as he follows filmmaking's most basic and most sinned-against dictum: Show, don't tell.
  20. Take This Waltz, Sarah Polley's honest, sure-footed, emotionally generous second feature. Ms. Williams, one of the bravest and smartest actresses working in movies today, portrays a young woman who is indecisive and confused, but never passive.
  21. Mr. Young's passionate cracked whine assumes an oracular power.
  22. The most gripping scene in this near-perfect little sports comedy is a fraternal arm-wrestling contest that reaches apoplectic intensity.
  23. Crammed with color and imagination, every one of Jake Pollock's gorgeously photographed images feels timelessly suspended between innocence and awareness.
  24. Benoît Jacquot's tense, absorbing, pleasurably original look at three days in the life and lies of a doomed monarch.
  25. Commendably, the film, narrated by John Leguizamo, sugarcoats nothing, and the people involved - the players, their trainers, their parents, the scouts - are remarkably forthright.
  26. Schadenfreude and disgust may be unavoidable, but to withhold all sympathy from the Siegels is to deny their humanity and shortchange your own. Marvel at the ornate frame, mock the vulgarity of the images if you want, but let's not kid ourselves. If this film is a portrait, it is also a mirror.
  27. Ruby Sparks doesn't try to pretend to be more than it is: a sleek, beautifully written and acted romantic comedy that glides down to earth in a gently satisfying soft landing.
  28. The fluidity and convenience of digital moviemaking tools explain some of its freshness, as does Ms. Klayman's history as a budding documentarian. It's clear from watching both the feature and its earlier iterations that, while she was learning about Mr. Ai, she was also learning how to tell a visual story. It's easy to think that hanging around Mr. Ai, a brilliant Conceptual artist and an equally great mass-media interpolater, played a part in her education.
  29. Far more than Norman's adventure, which takes him from home to a cemetery and deep into his town's history, what pulls you in, quickening your pulse and widening your eyes, are the myriad visual enchantments - from the rich, nubby tactility of his clothes to the skull-and-bones adorning his bedroom wallpaper.
  30. A slow-motion punch to the groin. As such, it's fitting that one of our first sights is a large "NO" stenciled in the parking lot of a fast-food joint in suburban Ohio: as the film progresses, the word becomes a silent mantra for viewers who can't quite believe what they're seeing.

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