The New York Times' Scores

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For 20,335 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: 9,412 out of 20335
  2. Mixed: 8,455 out of 20335
  3. Negative: 2,468 out of 20335
20335 movie reviews
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  1. King of California
    King of California may look and feel realistic, but it is really a Don Quixote-like fable about nonconformity and pursuing your impossible dream to the very end.
  2. Sydney White
    Ms. Bynes, with her cherubic face, expressive eyes and comic timing, helps create a positive, pleasing diversion that caters to the geek in all of us.
  3. Trade
    An eagerly prurient dip into the sex-trafficking trough, Trade teeters between earnest exposé and salacious melodrama. Minus the film’s near-visible weight of conscience, success in the second category would have been virtually guaranteed.
  4. Rails & Ties
    Everything looks professional if undistinguished.
  5. P2
    Swift and stealthy P2 is a canny exploitation of one of the urban woman’s greatest fears: the after-hours parking garage. Throw in a car that won’t start, a creepy security guard and a filmmaking team with perfect synchronicity, and the result is a minimalist nightmare.
  6. Saawariya
    The experience is visually enchanting, cloyingly sweet, at once utterly chaste and insanely erotic, and finally exhausting. Aficionados will not settle for less.
  7. This Christmas
    Boisterous and bittersweet, the film is not dull, but it does feel hopelessly overstuffed, with scant time to devote to any one story line.
    • 59 Metascore
    • 60 Critic Score
    Sharkwater
    Mr. Stewart dilutes the movie’s urgency by framing the subject within a “personal journey” format and selling himself as a hunky, sensitive martyr.
  9. Flawless
    A mildly diverting period heist movie.
    • 62 Metascore
    • 60 Critic Score
    Oswald's Ghost
    The documentary Oswald’s Ghost initially plays as yet another primer on the assassination of John F. Kennedy and the vilification of Lee Harvey Oswald.
  11. Maurice Richard
    After a while the humorless solemnity of The Rocket stifles any interesting sense of Maurice Richard as a character. The hockey sequences are nicely done, though, and give a reasonably good sense of what a great player he was.
  12. The Great Debaters
    The wonder is that The Great Debaters transcends its own simplifying and manipulative ploys; it radiates nobility of spirit.
  13. Honeydripper
    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.
    • 48 Metascore
    • 60 Critic Score
    National Treasure: Book of Secrets
    Like its predecessor, “National Treasure,” this sequel amounts to a bunch of crossword puzzle answers stitched together with explosions, chases and displays of intuitive reasoning that the “Twin Peaks” F.B.I. agent Dale Cooper would reject as too right-brained.
  15. City of Men
    City of Men has a more humane, you might say bleeding-heart, perspective on this anarchic culture than “City of God.”
  16. Rambo
    The movie does have its own kind of blockheaded poetry.
  17. In Bruges
    Mr. Gleeson, Mr. Farrell and especially the late-arriving and welcome Mr. Fiennes have great fun rummaging around inside Mr. McDonagh’s modest bag of tricks.
    • 46 Metascore
    • 60 Critic Score
    Welcome Home, Roscoe Jenkins
    It’s a cut above other films of its type because every scene is packed with details like those pliers -- touches that suggest that the film’s writer and director, Malcolm D. Lee (“The Best Man”), is working overtime to smuggle life into formula.
  19. Diary of the Dead
    The body has its needs, and one of the problems with Diary of the Dead is that it doesn’t get into your body; it doesn’t shake you up, jolt you, make you shiver and squeak. It’s clever, or at least clever enough to keep you going and interested from start to finish. It just isn’t scary.
  20. The Bank Job
    The workmanlike title The Bank Job is a nice fit for this wham-bam caper flick.
  21. Snow Angels
    For a film full of murder, jealousy and fatalism, Snow Angels feels curiously small and anecdotal, and its impact diminishes as it nears its terrible conclusion.
  22. Heartbeat Detector
    The rather lost-looking Mr. Amalric, most recently seen on screens giving his left eyeball a furious workout in “The Diving Bell and the Butterfly,” maintains a suitably funereal mien throughout.
  23. The Grand
    The actors certainly look as if they’re having a good time, and if you’re in the right mood, you might too.
    • 57 Metascore
    • 60 Critic Score
    The Hammer
    Rambling and disorganized. At the same time, though, The Hammer also has dry wit and unforced working-class swagger, and hits some surprising emotional notes.
  25. Meet the Browns
    What he serves up -- a mixture of moralism and forgiveness, semibawdy humor and cautionary drama, mockery and affection -- may sometimes lack coherence, but never integrity.
    • 48 Metascore
    • 60 Critic Score
    Run, Fatboy, Run
    The kind of movie that’s apt to be dismissed a goofy lark. It is that. But it’s also a rare comedy that believes in its own message, and that could inspire the depressed and the demoralized to grit their teeth and keep running.
  27. The Cool School
    The Cool School, is, well, cool, but it’s also fairly parochial.
  28. Priceless
    The movie is an amusing ball of fluff that refuses to judge its characters’ amoral high jinks. Winking at the vanity of wealthy voluptuaries and hustlers playing games of tainted love, it heaves a sigh and says welcome to the human comedy.
  29. Stop-Loss
    Ms. Peirce’s movie, which she wrote with Mark Richard, is not only an earnest, issue-driven narrative, but also a feverish entertainment, a passionate, at times overwrought melodrama gaudy with violent actions and emotions.
  30. Water Lilies
    Water Lilies is a nice, watchable, attractive, minor work. What it lacks is a sense of purpose, a commitment not just to its characters but also to its own reason for being.
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