The New York Times' Scores

For 9,990 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 The Camden 28
Lowest review score: 0 Hush
Score distribution:
9,990 movie reviews
  1. Mr. Kelemer captures the sad textures of the Rogala brothers' lives with an appropriate balance of sympathy and detachment.
  2. And the dancing, as in ''Strictly Ballroom,'' is filmed with a wishful Fred-and-Ginger sweetness that gives the film a studiously effervescent mood.
  3. May be as exhaustive a study of one man's midlife crisis as has ever been brought to the screen. But as the movie lopes along, exhaustive becomes exhausting.
  4. Our turbulent political climate is so clogged with the instant hysteria demanded by the chattering class to keep its voice in shouting condition that a sedate documentary examining the long-term weather patterns is a welcome respite from the noise.
  5. Ms. Collette’s Maggie is the film's prime mover. This wonderful Australian actress, who hasn't a shred of vanity, virtually disappears into the complicated characters she plays, and Maggie is one of the strongest.
  6. The Spanish writer and director Nacho Vigalondo has audacity to spare. Constructing a looping, economical plot and directing like a fire marshal in a flaming building, he conjures urgency and disorientation from the thinnest of air.
  7. Greatly appealing if not especially adventurous, either for its director or for her admirers.
  8. A rollicking musical memoir, as much a recollection of the show as of the period, a film that has the charm of a fable and the slickness of Broadway show biz at its breathless best.
    • 68 Metascore
    • 70 Critic Score
    A solid documentary about how art is made.
  9. If the insanely inventive and entertaining Mad Detective weren't so weird -- and in Cantonese -- hordes of action geeks would be lining the block to see it.
  10. Bethlehem is emphatically political, as perhaps any movie about warring Israelis and Palestinians must be. Yet its ideas are more complex than is suggested by either its schematic story or fast-moving genre elements.
  11. Mr. Singer and his collaborators grasp that comic books, for all their obligatory fights and explosions, are at bottom about their brave, troubled, impossibly muscled characters.
  12. Red Obsession, a little too stuffed for its nearly 80 minutes, may already be dated, since China’s wine fever has cooled recently. Still, the movie raises legitimate concerns about the cultural and economic implications of status-minded overconsumption.
  13. A febrile blend of facts, liberal outrage and emotional manipulation (like his colleague Michael Moore, Mr. Greenwald knows the visual power of a grieving mother), Iraq for Sale has an us-versus-them sensibility that’s extremely effective.
  14. Tom DiCillo’s angry comedy Delirious subjects modern celebrity culture to a microscopic examination that shows the toxic virus of fame squirming and multiplying under its lens.
  15. As his attention to detail and beauty shots prove, Mr. Maringouin has a terrific eye: he brings you close to Mr. Strel, sometimes within panting distance, without forgetting the larger, lovelier world.
  16. A crudely made, half-clever little frightener that has become something of a pop-culture sensation and most certainly the movie marketing story of the year.
  17. Even after the film's last half-hour descends into a silly season, Mr. Rudolph writes and directs with obvious affection for his characters and with a deep knowledge of whatever makes them tick.
  18. Because this is also a document of an actress actually at work, much of the movie's pleasure comes from watching another brilliant performance take shape as Ms. Streep tries out different line readings, gestures and poses in her search for Mother Courage.
  19. Mr. Takata deserves praise for refusing to oversimplify the situation, although his film doesn’t always bring the conflict fully to life.
  20. Mr. Gray's feature-length monologue brings people, places and things so vibrantly to life that they're very nearly visible on the screen.
  21. Kisses may strike you as either ingeniously magical or insufferably cute, depending on your taste. But more than the story, which circles back on itself, the natural performances of its young stars, Shane Curry and especially Kelly O'Neill, nonprofessional actors, lend the movie a core of integrity.
  22. Honeydripper is agreeable, well-intentioned and very, very slow. Sadly, it illustrates the difference between an archetype and a stereotype. When the first falls flat, it turns into the other and becomes a cliché.
  23. It never quite rises to the full potential of its theme or fully inhabits its intricately imagined space. It’s cool but not haunting — a brainteaser rather than a mindblower.
  24. A delicate, haunting study of a woman who has in several senses lost her way.
  25. An intrepid sleuth, Ms. Snyder seems to have left no stone unturned in her search for answers.
  26. The cinematic equivalent of sampling goodies from a spartan tastings menu in which the entrees, desserts and appetizers are confusingly jumbled together.
  27. Kubrick left one more brilliantly provocative tour de force as his epitaph.
  28. Liz Mermin documents the hilarious, moving and sometimes fractious meeting of diametrically different cultures, one that has suffered unimaginable horrors and one that believes a good perm is the answer to everything.
  29. Memories of Tomorrow finally understands that the real victim of this terrible affliction is the partner left behind.

Top Trailers