The New York Times' Scores

For 10,043 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 Queen
Lowest review score: 0 Hush
Score distribution:
10,043 movie reviews
  1. Those swayed by the argument in Client 9 that some of the rich and powerful whom Mr. Spitzer crusaded against might have exploited his stupidity should find all this enthralling. Others might just remember the hubris.
  2. In this visual caress of postindustrial blight, disintegration has never looked so gorgeous.
  3. Mr. Jarecki forcefully, if not with wholesale persuasiveness, argues that our business is specifically war.
  4. With its intense chiaroscuro and meticulous manipulation of color that ranges from stark black and white to richer, shifting hues in scenes set in a metaphorical orchard, the film surpasses even Michael Haneke's "White Ribbon" in the fierce beauty and precision of its cinematography (by Martin Gschlacht).
  5. The strongest tales embrace a strain of barnyard humor that is matched by the robust performances of actors who convey an earthy jocularity. The movie doesn't shy away from comparing these hardy, weather-beaten rustics to their livestock.
  6. Anita is an important historical document about an event that prompted a larger cultural conversation about sexual harassment. But, perhaps more important, it conveys Ms. Hill’s journey from an accuser alone to an activist who shares with, and listens to, others.
  7. The plot undermines the film’s power. At the end you may be impressed at the skill on display, but you may also wish that you were more fully moved by the spectacle of a soul laid bare and transformed.
  8. However persuasively acted, this mélange of cinéma vérité, slapstick and murder - whose story has a lot in common with the recent Australian gangster film "Animal Kingdom" - has too many narrative gaps for its pieces to cohere satisfactorily.
  9. Mr. Chow has perhaps achieved more sustained and elaborate adventures, but he hits a sweet spot of comedy that never grows too self-aware or forgets the value of a good, clean demon whomping.
  10. There may be little to give you the collywobbles, but there’s quite a lot to enjoy, with Ms. Morton heading the list. Swaddled in thick cardis and shapeless scrubs, she makes Katherine a well of overanxious care and castrating comments.
  11. It's good, canny-dumb fun.
  12. Sivan has accomplished something extraordinary: he has given political extremism a human face.
  13. Mr. Kelemer captures the sad textures of the Rogala brothers' lives with an appropriate balance of sympathy and detachment.
  14. And the dancing, as in ''Strictly Ballroom,'' is filmed with a wishful Fred-and-Ginger sweetness that gives the film a studiously effervescent mood.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. Greatly appealing if not especially adventurous, either for its director or for her admirers.
  20. 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.
  21. 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.
  22. 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.
  23. A movie like The Seven Five has only minor use as a historical document; its principal function is to package gonzo tales of bad behavior into commercial entertainment that plays down the real suffering behind those stories.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.

Top Trailers