The New York Times' Scores

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For 20,269 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 9,377 out of 20269
  2. Mixed: 8,428 out of 20269
  3. Negative: 2,464 out of 20269
20269 movie reviews
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  1. When in Rome
    There are dull stabs at verbal wit that leave you baffled, bored or slightly grossed out.
  2. Happy Tears
    Mr. Lichtenstein seems to want your tears. Nothing wrong there. The problem is that, because he never settles persuasively into one groove -- you don’t believe the tears or the smiles or anything in between -- he can’t begin to approach the complex contradictions suggested by his movie’s title.
  3. Nine
    Straining to capture artistic frenzy, it descends into vulgar chaos, less a homage to Federico Fellini’s “8 ½” (its putative inspiration) than a travesty.
  4. Pandorum
    According to the press notes, pandorum means “Orbital Dysfunctional Syndrome”; whatever that is, by the end of the movie I was convinced I had caught it.
  5. Law Abiding Citizen
    Wears its preposterousness with a certain pride. It’s about the cat-and-mouse game between two very smart guys, and it’s perfectly happy to be as dumb as it wants.
  6. Antichrist
    The scandal of Antichrist is not that it is grisly or upsetting but that it is so ponderous, so conceptually thin and so dull.
  7. Cop Out
    It’s a phoned-in, gutless piece of hack work that reminds you of other, better films in the same vein.
  8. Taken
    Taken starts in low gear and almost immediately stalls out.
  9. I Hate Valentine's Day
    You might blame Nora Ephron, whose screenplay for “When Harry Met Sally” established the formula that I Hate Valentine’s Day runs into the ground. Compared with this, Ms. Ephron is Chekhov.
  10. Happy Gilmore
    Doesn't deliver.
  11. Perfume: The Story of a Murderer
    Try as it might to be refined and provocative, Perfume: The Story of a Murderer never rises above the pedestrian creepiness of its conceit.
  12. 300
    Another movie -- Matt Stone and Trey Parker's "Team America," whose wooden puppets were more compelling actors than most of the cast of 300 -- calculated the cost [of freedom] at $1.05. I would happily pay a nickel less, in quarters or arcade tokens, for a vigorous 10-minute session with the video game that 300 aspires to become.
  13. Miss March
    The problem with Miss March is that it isn't very funny.
  14. Mindhunters
    A quintessential Renny Harlin film: a big, dumb, loud action movie.
  15. White Noise
    A film worthy neither of Mr. Keaton's talents nor even a desperate horror fan's attention.
  16. Boogeyman
    The filmmakers are smart enough to keep the monster out of sight for a long time and then to show only glimpses, but a similar tactic of providing only glimpses of plot and character is disastrous.
  17. Bigger Than the Sky
    Finally it becomes clear that Mr. Corley's film is meant to be a tribute to the love of theater. It has just been posing as the story of one man's finding himself.
  18. Cursed
    It's not bad enough to make you curse, but you are likely to laugh when you should scream, and to roll your eyes when you are meant to laugh.
  19. Man of the House
    Nearly every one of the film's emotional scenes is too predictable to hit its mark, but Mr. Jones's dry delivery has its moments.
  20. The Ring Two
    Despite Mr. Nakata's track record and the radiant presence of its star, Naomi Watts, The Ring Two is a dud.
  21. Eating Out
    Think of it as a modern-day variant on a Shakespearean comedy, only without the verbal felicity or dramatic structure.
  22. Palindromes
    The human landscape of Palindromes is a vista of grotesqueness, dishonesty and creepiness. These are qualities Mr. Solondz has explored before, but this time he fails to make them interesting, partly because he lets himself and the audience off the hook.
  23. 15: The Movie
    The law of averages demands that every once in a while a movie must come along starring young nonprofessional actors who aren't very good. That's unfortunately the case in 15.
  24. House of D
    The burden of the story, which is maudlin and entirely unbelievable, weighs down even the more credible performances.
  25. The Girl from Monday
    Evokes a mood of tenderness. Beyond that, it is a weightless, sentimental and intellectually lazy effort from an independent filmmaker whose movies seem increasingly insubstantial.
  26. Dead & Breakfast
    Not a shred of suspense enlivens the proceedings, and the movie's idea of humor is having a man slip and slide on a floor covered in blood.
  27. Writer of O
    A most unfortunate film that combines standard documentary techniques, including talking-head interviews, with some maladroit dramatizations from Aury's life and her novel.
  28. A Hole in One
    With its heavy symbolism and awkward, lurching pace, A Hole in One leaves viewers with little more than the vague conviction - which I think I already had going in - that falling in love is better than an ice pick to the brain.
  29. The Longest Yard
    Softer, louder and cleaner than the 1974 version, the new film sentimentalizes the prisoners and the game, filing down their sharpest edges so that winning becomes a matter of triumph rather than resistance.
  30. Slutty Summer
    The film is a labor of love for Casper Andreas, who wrote, directed and starred in this first feature. For the actors he has chosen, it's a labor of lust, with copious necking and grappling required. For the audience, it's just a labor.
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