The New York Times' Scores

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For 20,271 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 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. Monkeybone
    The movie is booby-trapped with so many loud gags that some of its sneakier humor is nearly lost in the din.
  2. Last Resort
    Though Last Resort dwells on sorrowful circumstances and illuminates a grim corner of contemporary reality, it is far from depressing.
  3. 3000 Miles to Graceland
    This bloated spectacle has all the get-up-and-go of one of the legendary late-era Elvis Presley concerts. The picture feels longer than Presley's career and as irrelevant as he was by the end.
  4. The Widow of Saint-Pierre
    Mr. Leconte seems at last to have anchored his cinematic gifts to a story worth caring about.
  5. Southern Comfort
    Southern Comfort sent shock waves through this year's Sundance Film Festival, even though it is as much about generosity and courage and tolerance as it is about a potentially discomforting subject.
  6. Company Man
    Little more than a loose- jointed succession of goofy "Saturday Night Live"-style sketches and sight gags inspired by an actual event that is nearly half a century behind us.
  7. Down to Earth
    Mr. Rock's attempts to disentangle himself from his persona while offering audiences a sliver of insight into his world is a lofty ambition, but Down to Earth falls short.
  8. Rhythm 'n' Bayous: A Road Map to Louisiana Music
    Documents of a flourishing below-the-radar culture, often involving older musicians who won't be around much longer, they are archival records as well as entertainments.
  9. Yom Yom
    An interesting, elusive hodgepodge of comedy, melodrama and implicit allegory, lighted by occasional sparks of formal bravado.
  10. Sweet November
    The film's last half-hour -- or do I mean its final two weeks? -- is meant to keep the audience sniffling and sobbing uncontrollably, but the only thing likely to elicit tears is the sight of Mr. Reeves dressed in a white dinner jacket crooning "Time After Time."
  11. Recess: School's Out
    The unfortunate thing is that children will probably waste their summers indoors watching "Recess" over and over again.
  12. The Price of Milk
    The guiding philosophy of The Price of Milk seems to be that if you throw something on the screen and call it a fairy tale, it has to mean something. But it doesn't.
  13. Bad Company
    Frank, sympathetic approach to the awkward age.
  14. Love, Honor and Obey
    Terminally scatterbrained gangster farce.
  15. Hannibal
    Hannibal, a silly though handsomely staged adaptation of the Thomas Harris novel directed by Ridley Scott, is a movie meant for the whole family -- the Manson family.
  16. Journey to the Sun
    An incisive drama about a waking nightmare.
  17. Signs & Wonders
    Filled with voyeuristic shots as the camera peers through picket fences and windows and around corners; the film looks as if it were shot with a surveillance camera from a 7-Eleven
  18. Saving Silverman
    Does occasionally rise out of the sewer of its self-imposed idiocy, ascending in brief moments from utter witlessness to half-witlessness, mostly thanks to the loose comic byplay between Mr. Black and Mr. Zahn.
  19. The Taste of Others
    A witty, sociologically astute reflection on the attraction between opposites.
  20. The Invisible Circus
    Unfortunately, The Invisible Circus, which follows Phoebe as she retraces her dead sibling's steps from Paris to Berlin to the coast of Portugal, doesn't so much illuminate Phoebe's confusion as share it.
  21. Fever
    Every shot seems measured for maximum effect, and when the pace suddenly quickens in a late action sequence on a deserted subway train, it results in a moment of pure Hitchcockian panic that reverberates like thunder in the fretful, melancholy air.
  22. The Million Dollar Hotel
    A mellow dream of a movie that's an acquired taste. It's attractive because of the oblique way that Mr. Wenders ambles through a murder mystery that's stronger on characterization than on plot.
  23. Valentine
    It feels like both a joke and a turkey.
  24. Head Over Heels
    Exists in a realm beyond sense, and induces in the viewer a trancelike state, leaving the mind free to ponder the mysteries of the universe.
  25. Left Behind
    For all its intimations of fire and brimstone, the film isn't remotely frightening, and the high-school-level acting doesn't help.
  26. In the Mood for Love
    Probably the most breathtakingly gorgeous film of the year, dizzy with a nose-against-the-glass romantic spirit that has been missing from the cinema forever.
  27. Nico and Dani
    Amazingly, Cesc Gay's delicate but unblinking film Nico and Dani succeeds in capturing and sustaining the fragile emotional climate of curiosity, fear, innocence and prurience that surrounds adolescent sexual experimentation.
  28. Fallen Angels Paradise
    Exudes a randy, robust charm as it unapologetically thumbs its nose at respectability and everything the word implies.
  29. Trolösa
    This attenuated two-and-a-half-hour reflection on marriage, adultery, parenthood and the casualties of sexual warfare unfolds like a brooding autobiographical epilogue to Mr. Bergman's much stormier 1973 masterpiece, "Scenes From a Marriage."
  30. Voyages
    This movie operates in the limbo between memory and oblivion that we recognize as daily life. It bears courageous and stringent witness to the impossibility of bearing witness.
  31. Two Ninas
    In this elongated, formula-ridden sitcom posing as a movie, the date-weary Manhattan singles exchanging acerbic banter suggest the tougher, far less intellectual offspring of Woody Allen characters drenched in a whiny Seinfeldian dyspepsia.
  32. Sugar & Spice
    The movie is full of scattershot gags and indifferent acting, but you get the feeling that it's bad on purpose, which makes it, given the number of teenage movies that are terrible by accident, not bad at all.
  33. The Wedding Planner
    It's like watching two superbly conditioned rowers try to race a boat made of folded newspaper. Hard as they work, they just can't make it go any faster.
  34. Amy
    Warm of heart, modest in polish, Amy provides satisfactions that must be balanced against its flaws.
  35. R2PC: Road to Park City
    The intentionally self-conscious style of R2PC is a little hard to take sometimes because the movie is trying too hard to be funny.
  36. Scottsboro: An American Tragedy
    The filmmakers know how potent the material is, and they don't hammer away at the obvious.
  37. The Amati Girls
    Although the concept seems promising enough, it is undone by disastrous casting decisions and an utter lack of ensemble unity.
  38. The Pledge
    Not a pleasant film, but it is deeply, scarily rewarding.
  39. Snatch.
    Mr. Ritchie seems to be stepping backward when he should be moving ahead.
  40. Zheng hun qi shi
    It's an anti- romantic comedy that resolves on a minor chord of grief.
  41. Panic
    A sneaky and smart film noir.
  42. Antitrust
    The plot of Antitrust is intricate and uneven, overloaded with twists and not very jolting surprises.
  43. Double Take
    A shell game passing as entertainment.
  44. Save the Last Dance
    Bland but poised.
  45. Wadd: The Life & Times of John C. Holmes
    A fairly tough-minded film until the end, when several commentators who have been critical suddenly turn misty-eyed and suggest that underneath it all, Holmes was really a sweetie.
  46. Chunhyangdyun
    The extravagance of the sets and costumes increases the theatricality; Chunhyang is an almost childlike delight for the eyes.
  47. The Claim
    A languorously muted, occasionally magnificent film.
  48. Shadow of the Vampire
    At once wildly metaphorical and distressingly literal-minded, Shadow of the Vampire tries, with mixed success, to be scary, funny and profound all at once.
  49. Traffic
    May be the first Hollywood movie since Robert Altman's "Nashville" to infuse epic cinematic form with jittery new rhythms and a fresh, acid- washed palette.
  50. All the Pretty Horses
    The movie, for all its prettiness, manages to be shallow and portentous at the same time.
  51. Vatel
    The movie wants desperately to function as a romantic tragedy, with passions glancing off the thoughtless pursuit of satisfaction. But Vatel can't really define the differences between the two; it settles into a period funk, as shallow as the court popinjays it seeks to expose.
  52. Thirteen Days
    Kevin Costner is suitably flinty in 13 Days, a competent, by-the-numbers recreation of the events surrounding the Cuban missile crisis of 1962.
  53. An Everlasting Piece
    The director serves up a nice helping of blarney, but he seems to have left his schmaltz in Baltimore.
  54. Malèna
    What begins as a blushing, priapic opera buffa about coming of age turns into a verismo shocker, before softening into something mellower.
  55. Before Night Falls
    Like a deathbed dream it leapfrogs through Arenas's life, reconstructing crucial moments as a succession of bright, feverish illuminations.
  56. Exhuming Mr. Rice
    Someone deserves the grand prize for persuading David Bowie to participate in this minor drama .The movie is bland and ordinary.
  57. Injeong sajeong bol geot eobtda
    This crowd-pleasing spectacle is like a series of showstopper sequences from a musical without much attention paid to the story that is supposed to hold it all together.
  58. The House of Mirth
    Almost in spite of itself, The House of Mirth is powerful, at times even moving.
  59. Dracula 2000
    It's a little sad to see actors of the quality of Christopher Plummer and Jonny Lee Miller struggling straight- faced to dignify this sewage.
  60. Miss Congeniality
    Supporting performances add comic spark to a movie that otherwise seems happily, deliberately second-rate.
  61. Come te nessuno mai
    Aiming for lighthearted, bittersweet charm, But Forever in My Mind slips into predictability and condescension.
  62. State and Main
    A surprisingly unpolished piece of work that plays as though it were written for the stage and only slightly modified for the screen.
  63. O Brother, Where Art Thou?
    It is, all in all, a rambunctious and inspired ride in which the Coen brothers' voracious fascination with the arcana of American popular culture and their whiz-kid inventiveness reach new heights of whimsy.
  64. Cast Away
    At its best, Cast Away, like "Titanic," awes us with its sheer oceanic sweep and its cosmic apprehension of human insignificance.
  65. The Family Man
    A piece of moldy wax fruit if ever there was one.
  66. My Neighbors the Yamadas
    Mr. Takahata’s broad, cartoony family comedy whose smeary watercolor washes and Peanuts-like line drawings don’t follow Ghibli’s house style. The family’s misadventures are standard stuff, but the art is continuously inventive.
  67. Finding Forrester
    The screenplay by Mike Rich is so far-fetched and riddled with holes that Mr. Van Sant's urban realist touches only underscore the falseness of what's on the screen.
  68. The Gift
    The picture is saved from mediocrity by Mr. Raimi's smooth competence, and by the unusually high quality of the acting.
  69. Pollock
    May be the first movie about a painter to transcend the gushy clichés found in movies that try to unravel the mysteries of artistic creation.
  70. The Visit
    Shows so much intelligence and compassion that its tendency sometimes to overreach or underdramatize can surely be forgiven.
  71. The Emperor's New Groove
    Exhibits a cheeky effervescence and spunk.
  72. What Women Want
    Starts with a great idea, but the movie's potential drops faster than the tech stocks on the Nasdaq.
  73. Dude, Where's My Car?
    Tasteless at times, but where's the yuck?
  74. Chocolat
    So assured in its manipulative prowess that only afterward do you realize how fully you've been worked over.
  75. The Day Silence Died
    An easygoing exercise, impossible to dislike but not especially memorable, engaging but finally derivative:
  76. Vertical Limit
    A shallow yet empty action extravaganza.
  77. Dungeons & Dragons
    Take this as a warning: it's not much fun.
  78. The Art of Amália
    Only twice does the film give a tantalizing glimpse at the personality behind the voice.
  79. Proof of Life
    What ultimately sinks this stylish but heartless film is a flat lead performance by the eternally snippy Meg Ryan.
  80. Crouching Tiger, Hidden Dragon
    The picture is more fun than it has a right to be.
  81. Hillbrow Kids
    The blithe cruelties of outdoor living mount up, but the filmmakers refuse to exaggerate or sensationalize their material.
  82. Strippers
    Cheesy, amateurish film.
  83. Moon Shadow
    A modest and thoughtful movie, and if it doesn't quite break new ground in addressing its difficult subject, it at least does not cheapen it.
  84. A Good Baby
    The characters' faces reveal more about them than any words that come out of their mouths.
  85. Boys Life 3
    Pallid compared with the flaming id of television's "Will and Grace," the happy swizzle stick Jack, who's all appetites. When series television is more entertaining than a series of short independent films, that's something to worry about.
  86. Spring Forward
    Two very fine actors, Ned Beatty and Liev Schreiber, engaged in an intense contest to see who can give the more understated performance.
  87. The Trench
    What lifts The Trench above the run of the mill is the intensity of its disgust.
  88. 102 Dalmatians
    May have had the unintended effect of obscuring the original it meant to honor.
  89. Unbreakable
    Mr. Shyamalan may be the only mainstream director hankering for success with a need to understate; he is like Shaq without the tattoos. The result is a mastery of craft that may leave some hungry for more.
  90. Quills
    Occasionally becomes pretentious and shrill -- sometimes Mr. Wright isn't aware that his material is so good that he doesn't need to comment on his characters.
  91. Lies
    The daring but only partly successful Korean film Lies is built around voyeurism.
  92. Bounce
    Bounce may be far from a great film, but its pleasures are consistent enough to remind you of how few movies nowadays come anywhere close to matching it in intelligence and emotional balance.
  93. La bûche
    It unfolds with the verve and clarity of a piece of music, carefully composed and passionately played.
  94. Billy Liar (re-release)
    One of the great movies of the 1960's, but it has been, in this country at least, maddeningly elusive. In spite of its bitter edge, Billy Liar is pure Ambrosia.
  95. Sasayaki
    There's a little more sex than you'll see on WB, but mostly there's an atmosphere of brooding psychodrama and erotic cruelty that falls somewhere between "Cries and Whispers" and "Say Anything."
    • 82 Metascore
    • 70 Critic Score
    One Day in September
    Given the power of its story, One Day in September seems at times to be pushing too hard.
  97. Rugrats in Paris: The Movie - Rugrats II
    A one- way ticket to infantile heaven.
  98. The 6th Day
    Plays like something picked up at a vintage store; you can see all the greasy fingerprints from those who have handled it before.
  99. How the Grinch Stole Christmas
    So clogged with kooky gadgetry and special effects and glitter and goo that watching it feels like being gridlocked at Toys "R" Us during the Christmas rush.
  100. Rebels with a Cause
    (Garvy) has helped advance our understanding of a difficult and exhilarating time.
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