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. Kiss Kiss Bang Bang
    I don't think Kiss Kiss, Bang Bang is an altogether bad movie. It's just a movie with no particular reason for existing, a flashy, trifling throwaway whose surface cleverness masks a self-infatuated credulity.
  2. The Legend of Zorro
    This is a hiss-the-villain, cheer-the-hero kind of movie.
  3. Saw II
    It's fully apparent that this sequel is more trick than treat and doesn't really compare to its fine predecessor - though it still manages to be eye-opening (and sometimes positively nauseating) in itself.
  4. Jarhead
    Mr. Swofford's book has earned a place alongside the classics of military literature, but Mr. Mendes's film is more like a footnote - a minor movie about a minor war, and a film that feels, at the moment, remarkably irrelevant.
  5. Brooklyn Lobster
    An unusually pure example of American kitchen-sink realism.
  6. Get Rich or Die Tryin'
    The parts of Get Rich or Die Tryin' that feel most genuine have to do with friendship and family, rather than with criminal intrigue. But the movie ultimately lacks an emotional core. It will certainly make 50 Cent even richer, but it wouldn't have killed him to try a bit harder.
  7. Ellie Parker
    For Ms. Watts, it is a small, brave acting tour de force.
  8. Walk the Line
    There is no way a feature-length movie could do justice to such bounty, and Walk the Line settles for the minimum.
  9. Oxygono
    It does have the feel of farce at times, but much of the time it just seems determined to shock.
  10. Zizek!
    Entertaining without being especially illuminating. If you must see only one documentary about a Slovene philosopher this year, it might be better to read his books.
  11. In the Mix
    A one-dimensional romantic comedy that feels like an old-fashioned vehicle picture, the kind the big movie studios used to make in the 1930's and 40's just to bring in the fans of a particular actor or actress.
  12. Yours, Mine and Ours
    So snug, airtight and insulated from reality that the nice, well-scrubbed "Cheaper by the Dozen" seems almost rambunctious by comparison.
  13. The Libertine
    The rhythms of the dialogue move to the same beat as steadily as a metronome ticks and tocks, while every sentence is polished like stone, absent the jaggedness of real breath and life. You can hear the play in this thing without even knowing it was based on a theatrical production.
  14. My Big Fat Independent Movie
    Has a knowing, insider quality that could generate a modest cult following.
  15. Seamless
    Given the material, Seamless can't be faulted a certain star-struck superficiality
  16. First Descent
    The Alaskan runs are often spectacular, resembling nothing so much as a controlled plummet down an avalanche. All of which is worth the price of admission if "stoked" is a regular part of your vocabulary.
  17. Memoirs of a Geisha
    Mr. Marshall can't rescue the film from its embarrassing screenplay or its awkward Chinese-Japanese-Hollywood culture klatch, but Memoirs of a Geisha is one of those bad Hollywood films that by virtue of their production values nonetheless afford a few dividends, in this case, fabulous clothes and three eminently watchable female leads.
  18. The Family Stone
    The women make The Family Stone, especially Ms. Parker, whose nimble performance is reason alone to see the film: not since Philippe Petit has anyone walked a tightrope with such finesse - and in high heels, no less.
  19. The Matador
    Because The Matador sustains a tone of screwball insouciance and keeps its trump card hidden up its sleeve, it must be counted as a well-made comic thriller. That doesn't mean it has any depth, credibility or artistic value beyond its capacity to divert.
  20. Marebito (The Stranger from Afar)
    In casting about for new sources of fear, Marebito achieves its own level of mediocrity.
  21. Days of Santiago
    Mr. Sibille breaks no sweat under the scrutiny, giving a quiet, concentrated performance that lends heft to less than revelatory material.
  22. The Power of Nightmares: The Rise of the Politics of Fear
    It is startling that a three-hour film dealing largely with the history of the Middle East should find no time to mention either the Israeli-Palestinian conflict or the role of oil in the region. And it is more than a little unsatisfying to see the complex history of American conservatism reduced to the dreams and schemes of a handful of intellectuals.
  23. Happy Here and Now
    Like some other contemporary films that try to stitch together a small army of characters into a community of sorts, Happy Here and Now feels like a symptom in search of a cure.
  24. Wolf Creek
    The vogue for retro-horror, particularly the stripped-down shivers of 1970's slasher flicks, continues apace in this nasty little piece of work from Australia.
  25. The Ringer
    At the sweet heart of this silly film is a determination to upend the clichés and assumptions applied to the population we condescendingly label "special."
  26. Ich hiess Sabina Spielrein
    However fascinating the source material, there's something less than cinematic about 90 minutes of watching people read letters in front of windows.
  27. Tau man ji D
    A slick but silly affair unlikely to appeal to anyone over the age of 15.
  28. Grandma's Boy
    It cheerfully invites the audience to descend to their level, where no joke is too silly or raunchy, and a plot is just a way of passing time between game levels and bong hits.
  29. Kill the Poor
    There's potential here for an incendiary riff on gentrification and its discontents, but the result is only lukewarm. While the ensemble is as pungent as its assorted clichés will permit, the cruddy video photography and haphazard organization of plot blunt the wry thrust of the material.
  30. 24 Hours on Craigslist
    In essence, this is a string of intermittently interesting, occasionally funny, periodically wacky if rarely disturbing, sometimes touching though fairly boring and poorly shot human-interest stories.
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