The New York Times' Scores

For 9,533 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mystic River
Lowest review score: 0 State Property
Score distribution:
9,533 movie reviews
  1. 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.
  2. 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.
  3. 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."
  4. 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.
  5. 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.
  6. 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.
  7. This movie is graceful, subtle and sure-footed, much as its English title implies.
  8. 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.
  9. 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.
  10. 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.
  11. Mr. Young's passionate cracked whine assumes an oracular power.
  12. The most gripping scene in this near-perfect little sports comedy is a fraternal arm-wrestling contest that reaches apoplectic intensity.
  13. Crammed with color and imagination, every one of Jake Pollock's gorgeously photographed images feels timelessly suspended between innocence and awareness.
  14. Benoît Jacquot's tense, absorbing, pleasurably original look at three days in the life and lies of a doomed monarch.
  15. Commendably, the film, narrated by John Leguizamo, sugarcoats nothing, and the people involved - the players, their trainers, their parents, the scouts - are remarkably forthright.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. Stuffed with zingers and zippy stunts, it comes with pretty young things of all hues and hair types - few prettier than its lead, Joseph Gordon-Levitt - and start-to-finish clever special effects, none more clever or special than Michael Shannon.
  22. With his sound designer, Pablo Lamar, Mr. Mendonça has created the aural landscape of a horror movie. And, for much of its running time, a thriller without a plot.
  23. Ultimately his story draws more energy from class than from criminality: awash in sludgy browns and rotting greens - the colors of poverty and decomposition - this unpredictable oddity is a little bonkers but a lot original.
  24. Bachelorette is more tartly written, better acted and less forgiving than male-centric equivalents like the "Hangover" movies.
  25. Its subject is not addiction or ambition, or even love in a conventional romantic sense, but rather the more elusive and intriguing matter of intimacy: how it grows, falters and endures over time.
  26. The creativity grows like kudzu in Beauty Is Embarrassing, Neil Berkeley's enlightening and often hilarious portrait of the Los Angeles artist Wayne White. And it yields a thousand blossoms.
  27. The very definition of modest, Las Acacias articulates emotional transformation with simplicity and grace. Rarely has a film managed to say so much while saying so little.
  28. What resonates here are two men, two good men, whose lives have a paradoxically simple and complex bond beyond their profession. Step Up to the Plate asserts how family, in multifarious ways, can be the most deeply affecting of ensembles.
  29. Woven together, these monologues of bereavement and confusion, illustrated with images so terrible they repel rational explanation, form a tapestry of human misery that's impossible to shake off.
  30. Maybe that's romanticizing things, but baseball wouldn't be half as beautiful without its mythology.

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