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. A Knight's Tale
    The picture itself is good-humored, but bland and predictable. It's a cross between an All-American vaudevillian version of "Shakespeare in Love" and Mel Brooks's "Robin Hood: Men in Tights."
  2. A Map of the World
    Something disturbing has happened to this story en route to the screen.
  3. Bruce Almighty
    Even more than Jerry Lewis, Robin Williams or Pee-wee Herman, Mr. Carrey, now 41 (pretty old for an overgrown kid), sustains a maniacal energy that explodes off the screen in blinding electrical zaps. Those jolts don't always feel pleasant.
  4. After Midnight
    Diverting and often charming, but it never really holds together.
  5. Game Over: Kasparov and the Machine
    This deflating documentary gives up its quest for answers too easily.
  6. Conspiracy of Silence
    Deery's modest drama is one big, obvious argument against the vow of celibacy for Roman Catholic priests, but it has heart.
  7. September 11
    Most impressive, and the only segment that dares to criticize the terrorists directly, is Mr. Imamura's contribution, the last part of the film.
  8. Being Julia
    Being Julia may not make much psychological or dramatic sense, but Ms. Bening, pretending to be Julia (who is always pretending to be herself), is sensational.
  9. Touching the Void
    This is compelling stuff, but there is something deeply distracting in the use of recreated material.
  10. The Last Samurai
    Most watchable during the majestic brutality of the battle sequences. This is not only because of the handsome staging, but also because the keywords sacrifice and honor are evoked with verve and simplicity, more so than in the "exchange of idea" chats between Algren and Katsumoto, which sound like statements being read into the Congressional Record by Nathaniel Hawthorne.
  11. Scary Movie
    If you're amused by jokes involving male genitals, female pubic hair, flatulence and dismemberment, it should be a big hit.
  12. Danny Deckchair
    A pleasantly sappy fable of new beginnings that suggests a Frank Capra film sweetened with an extra layer of sugar glaze.
  13. Saw
    Does a better-than-average job of conveying the panic and helplessness of men terrorized by a sadist in a degrading environment, but it is still not especially scary.
  14. Thunderbirds
    A standard, gadget-crazed exercise in whiz-bang adventure with its tongue lodged deep inside its cheek.
  15. The Young Black Stallion
    Joins the small pool of films that have dared to use Imax to tell a story.
  16. Fear and Loathing in Las Vegas
    The closest sensory approximation of an acid trip ever achieved by a mainstream movie and the latest example of Mr. Gilliam's visual bravura.
  17. Never Been Kissed
    So hopelessly cartoonish and wrongheaded in its details that there's not even a semblance of reality.
  18. Rush Hour
    At regular intervals the film stops short for similiarly nifty Chan choreography, letting the star flip, swivel, scamper up walls and hurl large objects with his feet.
  19. Sleepy Hollow
    Turns the tale of the Headless Horseman into the pre-tabloid story of a rampaging serial killer.
  20. Seeing Other People
    There is enough discomfort on display to reinforce the cynical adage that sex is God's joke.
  21. Bottle Rocket
    A mildly facetious tone limits Anderson's film to the lightweight, but the collective enthusiasm behind this debut effort still comes through. What's best about Bottle Rocket is not the laid-back pranks that inflate its story to feature length but the offbeat elan with which that story is told.
  22. Girl with a Pearl Earring
    An auspicious feature-directing debut by Mr. Webber in so many ways -- a groaning board of temptations for the eye and ear -- that you may almost forgive the film its lack of drama and the perfunctory attempts at characterization. Viewing this film has been likened to watching paint dry; actually it is more like watching a painting dry.
  23. Easy
    Ms. Weinstock does accomplish something quite tricky, though. She does an impressive job of capturing the brave messiness of single life, or at least of 20-something dating, and her sex scenes have a rare feel of authenticity.
  24. Ned Kelly
    The storytelling is choppy and abrupt, and the filmmakers rely heavily on voice-over narration to announce themes that are never brought to dramatic life on screen. Mr. Ledger, his heartthrob charisma camouflaged behind a heavy beard, gives a stiff, hesitant performance.
  25. Midnight in the Garden of Good and Evil
    Yet for all the film's hard work at capturing Savannah's spirit, there is seldom enough context to make these characters seem anything but adorably whimsical to excess.
  26. As Good as It Gets
    Wicked, but it works.
  27. Absolute Power
    Eastwood directs a sensible-looking genre film with smooth expertise, but its plot is quietly berserk.
  28. The Lost World: Jurassic Park
    Where the original film was a cut-and-dried Pop-Art-flavored allegory pitting scientific hubris against the unpredictable, ungovernable forces of nature, the sequel is an all-stops-pulled, edge-of-your-seat adventure film whose messages are not so neatly packaged.
  29. Man on the Moon
    What is missing here, though it might have been the first thing expected from an ostensible film biography, is an answer to the simplest question: Who was Andy Kaufman, and how did he get that way?
  30. Cowboy Bebop the Movie: Knockin' on Heaven's Door
    Notable chiefly for its eye-catching urban backgrounds and an eclectic score that ranges from jazz and country to classical and choral.
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