The New York Times' Scores

For 9,703 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 White Material
Lowest review score: 0 Equilibrium
Score distribution:
9,703 movie reviews
  1. Line by line, the dialogue isn't all that quotable, but there is consistently funny life on the screen. The film's comic timing is nearly flawless.
    • 68 Metascore
    • 70 Critic Score
    The movie lets parallels between that time and the post-9/11 era emerge organically, in the manner of a fable that subtly illuminates your own life.
  2. You suspect, before long, that there is no strong reason for this production to exist, but it is reasonably good fun all the same.
  3. Ultimately lacks the epic dimension of "Y Tu Mamá También," but its vision of that awkward age when sex threatens to overwhelm everything else is acute enough to make everyone who has been there squirm with recognition.
  4. The passions of "Plata Quemada" are as bold as the images.
  5. Your attention is rewarded by a film of surprising depth and a few deep surprises.
  6. Hurtling pace, by-the-numbers character development and exotic science. Tornado-chasing suddenly takes on a sex appeal not usually associated with horrendous storms.
  7. Like the screen Tintin, the movie proves less than inviting because it's been so wildly overworked: there is hardly a moment of downtime, a chance to catch your breath or contemplate the tension between the animated Expressionism and the photo-realist flourishes.
  8. The dread gathers and surges while the blood scarcely trickles in The Conjuring, a fantastically effective haunted-house movie.
  9. This is a film that wears a smile button on its sleeve along with its happy heart. It believes that most people are absolutely wonderful, and it is well enough made so that a dusting of that dogged optimism is bound to rub off on you.
  10. Though the directors, Kristi Jacobson and Lori Silverbush, smartly choose examples from among the working poor — reframing obesity as chronic malnourishment in areas where it’s easier to find a burger than a banana — they’re reluctant to get down in the political dirt.
  11. Robert H. Lieberman, a novelist, filmmaker and professor at Cornell University, took three years to shoot documentary footage surreptitiously during assignments for the United States Embassy and a nongovernment organization. The result is eye-opening and insightful.
  12. Though $9.99 manages to be quirky and enigmatic, it is in the end too self-conscious, too satisfied in its eccentricity, to achieve the full mysteriousness toward which it seems to aspire. It is odd, curious, intermittently intriguing but ultimately more interesting for its artifice than for its art.
  13. Here, to its detriment, never builds its ideas into a cohesive vision. The screenplay by Mr. King and Dani Valent too often wanders off into poetic vagueness. But visually, Here, filmed by Lol Crowley, is still a stunner. Flawed as it is, I admire it immensely.
  14. I suspect that he would have approved of Mr. Lee's film, and not only because it approves so unreservedly of him. Paul Goodman Changed My Life may not have that effect on every viewer, but it has a passionate, almost prophetic sense of the impact that a writer and thinker can have on his times and the future.
  15. This film aspires to be a meditation on (among other things) art, trust, loyalty, politics and popular culture. With utter simplicity, and with unexpectedly intense storytelling, it achieves all that and more.
  16. Ms. Ramsay, with ruthless ingenuity, creates a deeper dread and a more acute feeling of anticipation by allowing us to think we know what is coming and then shocking us with the extent of our ignorance.
  17. Combines pieces of an extended interview with this Canadian singer-songwriter, poet and author, now 71, with a tribute concert organized by Hal Willner at the Sydney Opera House in January 2005.
  18. Always arresting and sometimes troubling, Watermark — aside from the odd comment here and there — neither lectures nor argues.
  19. It may be asking too much of The East — which is, after all, a twisty, breathless genre film — to wish that it would frame the contradictions of contemporary capitalism more rigorously. The movie is aware that they exist, and wishes that they could be resolved more or less happily, which is hard to argue with, though also hard to believe.
  20. Unpretentious, smartly written and a lot of fun.
  21. In its own modest, genial terms, the picture succeeds: it never wants to be more than charming and sweet, and it invites us to imagine London as a cozy, happy small town where coincidental encounters are everyday occurrences.
  22. Shows the human face of both communism and its victims, and shows how hard it is to tell the two apart.
  23. Mr. Brodsky's final screen performance in one of his richest roles finds overlapping layers of humor and pathos.
    • 68 Metascore
    • 80 Critic Score
    Throughout, there's a skillful balance between the vulnerability of New Yorkers and the drastic, provocative sense of comedy that thrives all over our sidewalks.
  24. It might be tempting to regard Mr. Andrew and his collaborators as oddballs, but Mr. Earnhart's quizzical, charming movie allows us to see them, finally, as artists.
  25. Mr. Patwardhan has located so much information and found so many willing interview subjects that his War and Peace has a riveting intelligence all its own and earns its epic title.
  26. So unabashed in its cheesiness that it could be spread on crackers; it may spike your cholesterol levels
  27. Dense, contradictory and distressingly honest, Valley of Tears is that rarity among political documentaries: a genuinely thought-provoking film.
  28. Much too long. It starts to feel like a flabby, dramatic version of the first "Austin Powers" movie, another exercise in living anachronism as a storytelling device. By the time the picture's final note about German reunification is struck, "Lenin!" has raised a wall of indifference for the audience.

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