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. Beerfest
    The five comedians known collectively as Broken Lizard have created a frat-house staple for the ages.
  2. Hollywoodland
    Ben Affleck has packed on the pounds, slipped on some tights and given this exasperating film far more than it gives in return.
  3. Crossover
    A decent example of Sidekick Cinema: a movie to glance up at from time to time while you download ring tones or text-message your friends.
  4. Looking for Kitty
    This is a modest film on various levels, in terms of budget, length, cast size and technical craft. Though passable at best, the digital camerawork does aptly convey the bleakness of the city’s sidewalks and streets during winter.
  5. Al Franken: God Spoke
    Even his fans may find themselves frustrated, since the film observes Mr. Franken closely without generating much insight into him.
  6. Everyone's Hero
    Everyone's Hero enters multiplexes already shadowed by tragedy. And while that may not be the best start for a kiddie feature, the movie's sentimental provenance could earn it a critical pass it doesn't deserve.
  7. Gridiron Gang
    The movie's good intentions are consistently undermined by its simplistic notion of redemption, and its inspirational thrust is diluted by an epilogue that suggests the program still has a ways to go in the life-altering department.
  8. The Last Kiss
    The fallibility of the romantic ideal -- which is nonetheless indispensable on screen and off -- is something Hollywood has trouble dealing with. "The Break-up," in which Jennifer Aniston and Vince Vaughan did just what the title promised, would have been a more notable exception if it were anything like a good movie. The Last Kiss, while not quite a good movie either, at least deserves credit for its honesty.
  9. Aurora Borealis
    The fixation of independent movies on the arrested development of bourgeois dullards may have less to do with the relevance of the topic than the class of people who get to make movies. Whatever the case, James Burke directs from a screenplay by Brent Boyd.
  10. Flyboys
    Despite its empty head and arduous length, Flyboys is ever so nice, in the manner of a Norman Rockwell illustration. The director, Tony Bill, may not be a philosopher but he is a gentleman, moving things along with a tidy, well-mannered hand. In another context, such politesse might feel tonic. Given the state of things, it’s nearly toxic.
  11. Sólo con tu pareja
    Mr. Cuarón never quite finds the tone that would allow him to fuse belly laughs with the horror of illness and death, but then perhaps Pedro Almodóvar is the only filmmaker able to mix darkness and light in that way. Still it is hard not to admire the younger man's cheeky self-confidence, and hard not to enjoy the dexterity of his camera movements and the flair with which he attempts both low comedy and high melodrama.
  12. Renaissance
    Over the course of 105 minutes, the brutal high contrast begins to strain the eyes. Effectively moody as it is, the style makes a convoluted story of corporate greed, high-tech espionage and science run amok even more difficult to follow.
  13. Open Season
    Periodic bursts of cleverness and eye-popping imagery, further enhanced in the 3-D Imax version, can't disguise that this is just another movie full of jive-talking computer-generated animals with little new to say.
  14. The Texas Chainsaw Massacre: The Beginning
    Mindlessly repeats the archetypal "Chainsaw" scenario.
  15. Alex Rider: Operation Stormbreaker
    Mr. Pettyfer is no Sean Connery, no Roger Moore, no Pierce Brosnan, no Timothy Dalton and no George Lazenby even, but the director, Geoffrey Sax, compensates for his zero of a hero by indulging the exceedingly amused and amusing supporting cast.
  16. Heartthrob
    There is something good-natured about Jaan-E-Mann that makes it possible to forgive its many faults -- even the film's opening, a "2001: A Space Odyssey" ripoff with a space station gliding through the cosmos to the tune of the "Blue Danube" Waltz.
  17. Catch a Fire
    It’s a film that wants to play as if it were ripped from today’s headlines, but has been shredded into near incoherence.
  18. Conversations with God
    Mr. Walsch’s books have sold millions of copies, and his devotees may flock to this movie. Other seekers of enlightenment might prefer the 2004 New Age curiosity "What the Bleep Do We Know!?," whose playful sense of scientific inquiry is refreshing by comparison.
  19. Wondrous Oblivion
    Form and content fight to the death in Wondrous Oblivion, Paul Morrison's defiantly gauzy tale of racial friction in 1960s England.
  20. A Good Year
    A Good Year is a three-P movie: pleasant, pretty and predictable. One might add piddling.
  21. Harsh Times
    Mr. Bales's spectacular technical performance of a toxic bad boy on the fast track to hell somehow lacks an inner core.
  22. Fur: An Imaginary Portrait of Diane Arbus
    Fur is a folly, though not a dishonorable one.
  23. The Cave of the Yellow Dog
    The dog is cute, the children are adorable, and the earth and the sky seem to stretch on without limit in The Cave of the Yellow Dog. Unfortunately, so does the slight story.
  24. Captive
    The middle section of the film has some of the superficiality of a made-for-Lifetime drama of female distress and resilience, a bit too eager to make its points and solve its dramatic problems at the cost of the messiness that would bring the story fully to life.
  25. Dance Party, USA
    Directed with extraordinary empathy by Aaron Katz (who also wrote the story), Dance Party, USA is an admittedly slight movie, but one that is given heft by a yearning tone and a camera fascinated by the emotional shifts and shadows on a young person's face.
  26. The Fountain
    The problem, though, is that its techniques run too far beyond its ideas, which are blurry and banal, rather than mysterious and resonant. The Fountain is something to see, but it is also much less, finally, than meets the eye.
  27. Tenacious D in The Pick of Destiny
    As it wobbles from one episode to the next, The Pick of Destiny is a garish mess, and some of it feels padded. But it has enough jokes to keep you smiling, and the spirit Mr. Black brings to it is a fervent (and touching) affection for the music he spoofs but obviously adores.
  28. Backstage
    As long as it focuses on its feverishly needy central characters, neither of whom you would ever want to have as a friend, it remains true to itself.
  29. The Architect
    Deteriorates from a potentially enlightening exploration of urban development and class conflict into a preposterous melodrama.
  30. Two Weeks
    Two Weeks gets into serious trouble in its clumsy attempts to offset the sadness and anxiety with humor. This pursuit of sitcom levity contaminates a movie that might have been an American answer to the hardheaded Romanian masterpiece "The Death of Mr. Lazarescu."
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