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. Poseidon
    Pretty much pure boilerplate: a reasonably well-executed throwaway that, when you finally get around to seeing it in its proper setting, will make you glad you decided to travel by air instead of by sea.
  2. X-Men: The Last Stand
    Mostly, as so often with these types of empty entertainments, you are left to wonder why companies that hire so many fine actors to run around under latex and foam and have the best technological wizardry money can buy seem to spend so little attention to the screenplay.
  3. Just My Luck
    Just My Luck is a bit of lukewarm cappuccino froth confected to float Ms. Lohan to the next stage of her career.
  4. The Mistress of Spices
    This is a one-dimensional, sometimes illogical film, but it's certainly good-looking.
  5. Russian Dolls
    The shallowness of this idealized depiction of European cultural homogeneity is largely camouflaged by the comfortable fit of its director's sensibility with the actors' likable, lived-in performances. An apt alternative title for Russian Dolls might be "Lovers Without Borders."
  6. The King
    Fitfully engaging, finally exasperating.
  7. The Break-Up
    The script (by Jeremy Garelick and Jay Lavender) strains hard after a few easy jokes, and the whole movie feels dull and trivial.
  8. Shem
    By the time the frustratingly silly ending arrives, it's confirmed that Shem, which translates to "name" in Hebrew, is just as confused as its protagonist. Daniel's looks may charm everyone who crosses his path, but he is like the movie: most of the depth that does exist remains buried beneath the surface.
  9. The Puffy Chair
    Its fidelity to its characters’ view of the world -- although they are presumably college graduates, they seem never to have read a book or expressed an opinion -- is more a liability than a virtue. The Puffy Chair is as modest as their ambitions and as narrow as their curiosity about the world beyond themselves.
  10. Typhoon
    Typhoon aims high but misses the emotional mark in most instances, resulting in some awkward melodramatics. Even so, it flourishes during its well-executed action sequences and commands attention almost instantaneously, though, in the end, it will be forgotten just as quickly.
  11. The Fast and the Furious: Tokyo Drift
    As in the previous two installments of the Fast and Furious franchise, this largely consists of macho tantrums, vying for the girl, intense vehicular mayhem and high-octane homoeroticism.
  12. Garfield: A Tail of Two Kitties
    To borrow and slightly emend the words of Shakespeare: That cat will mew, but this dog will have the day.
  13. Loverboy
    Almost until the end, Loverboy maintains a shaky integrity. But in its final moments it caves in to convention with a mawkish epilogue to a story that ends with an appalling act of selfishness.
  14. Lower City
    The movie turns out to be a predictable and somewhat sentimental lower-depths love triangle, but Ms. Braga almost makes it work.
  15. The Mostly Unfabulous Social Life of Ethan Green
    More often than not, these tactics fall flat, and the mostly unfunny - and unfabulous - trifle never rises above sitcom level.
  16. Waist Deep
    Unapologetically a B movie, its narrative premise whittled down to a mean little nub and placed carefully on the borderline between the wildly implausible and the completely absurd.
  17. Superman Returns
    It's hard to see what the point is beyond the usual grandiosity that comes whenever B-movie material is pumped up with ambition and money.
  18. The Great New Wonderful
    It is hard to feel much warmth toward people whose most salient feature is their disconnection from reality.
  19. Pirates of the Caribbean: Dead Man's Chest
    It batters you with novelty and works so hard to top itself that exhaustion sets in long before the second hour is over.
  20. Beowulf & Grendel
    With all the mystery and meaning sucked from the story, the filmmakers do what filmmakers often do when faced with their own lack of imagination: they toss a little sex in with the violence.
  21. Lady in the Water
    One of the more watchable films of the summer. A folly, true, but watchable.
  22. My Super Ex-Girlfriend
    The shaky comedy My Super Ex-Girlfriend must have been a dream to pitch: "Fatal Attraction" meets "Wonder Woman," but funny.
  23. John Tucker Must Die
    Penn Badgley is wildly charismatic in the role of John Tucker's younger brother. The entire picture could hang on his cheekbones alone. If only Mr. Metcalfe shared his talents.
  24. The Ant Bully
    In the end, though, The Ant Bully is adequate rather than enchanting. Unsure of its ability to charm, it compensates with noise, sentiment and low humor, the usual synthetic stew served to children,
  25. The Night Listener
    The film has its creepy, suspenseful moments -- but it shrinks a rich, strange story to the dimensions of an anecdote.
  26. I Like Killing Flies
    Mr. Mahurin is obviously enchanted by his subject, but he never gets past his delight to say anything of real, sustaining interest.
  27. Lunacy
    Mr. Svankmajer’s provocations skew toward the intellectual and the shivery rather than the pop and the visceral, and at his best, he doesn’t just get under your skin, but also deep in your head, too. Here, unfortunately, he does neither, despite some marvelous stop-motion animated sequences involving a literal moveable feast of severed animal tongues, loose eyeballs and errant brains.
  28. The Trouble with Men and Women
    It all feels utterly real and banal. You could describe The Trouble With Men and Women as a comfortable armchair to come back to: too comfortable.
  29. Accepted
    Accepted will make for a passable alternative to sold-out shows of "Snakes on a Plane," but it's a disappointing debut for the director Steve Pink.
  30. 10th & Wolf
    The characters never transcend the clichés embedded in the culture since "The Godfather."
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