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. Right at Your Door
    The film, especially in its resolution, feels a bit like a “Twilight Zone” episode and might have been better at that length, but the acting’s pretty good, and the cinematography keeps things lively.
    • 25 Metascore
    • 0 Critic Score
    September Dawn
    The maudlin, grotesque western September Dawn, about the massacre on Sept. 11, 1857, of about 120 settlers by Mormons (and their Paiute Indian mercenaries), apes "Schindler’s List" in hopes of creating a Christian Holocaust picture.
  3. War
    Most regrettably, War squanders the considerable merits of its leads.
  4. Closing Escrow
    Even naysayers of reality TV’s simplistic structure, which the film openly borrows, may find themselves rooting for a couple of choice -- and having fun in the process. The real-estate game can actually be a laughing matter when you’re not a contestant.
  5. The Hottest State
    At around the halfway point, its characters’ haranguing voices begin to grate on you. People in their early 20s, even pretty people, lose their appeal when they dwell this obsessively on their own inchoate turmoil.
    • 63 Metascore
    • 50 Critic Score
    Hannah Takes the Stairs
    Less notable for its story than for what the movie itself represents: an evolutionary entry in the so-called Do It Yourself (or D.I.Y.) independent film movement.
  7. Superbad
    Horny is as horny does in the sweetly absurd high school comedy Superbad.
    • 67 Metascore
    • 70 Critic Score
    Death at a Funeral
    There’s no dearth of rude humor on screens right now, but Death at a Funeral stands apart because its characters -- mostly reserved upper-middle-class British folk who have gathered to bury a patriarch -- are determined to keep a stiff upper lip no matter what.
    • 60 Metascore
    • 70 Critic Score
    Them
    The movie is scarier if you know nothing about it going in. It has no larger agenda. It’s not an allegory, a satire or a commentary. It’s just a modestly relentless suspense picture that propels its characters through a series of dreamscapes.
  10. Manda Bala (Send a Bullet)
    Instead of seriously investigating corruption, money laundering and the buying of politicians, Manda Bala would rather spend its time showing slimy brown frogs slithering over one another as they are dumped from one container into another.
  11. The 11th Hour
    An unnerving, surprisingly affecting documentary about our environmental calamity, is such essential viewing.
  12. The Invasion
    Whatever the case, The Invasion lurches and drags and teeters on the brink of death from scene to scene; it plays as if it had been made by someone in a trance, though not a cool one.
    • 83 Metascore
    • 80 Critic Score
    The King of Kong: A Fistful of Quarters
    The movie’s “Rocky” formula proves irresistible anyway; unsurprisingly, New Line has commissioned Mr. Gordon to remake this story with actors.
  14. The Last Legion
    This might have made a good children’s film.
  15. Sunflower
    Like Douglas Sirk without the throw pillows, Sunflower is a shamelessly old-fashioned melodrama performed with such sincerity that resistance is futile.
  16. Primo Levi's Journey
    Vividly impressionistic and delightfully curious.
  17. Delirious
    Tom DiCillo’s angry comedy Delirious subjects modern celebrity culture to a microscopic examination that shows the toxic virus of fame squirming and multiplying under its lens.
  18. Zebraman
    Driven less by civic duty than by the need to escape his dreary life, Zebraman is a tragic, touching figure too often obscured by Kankurou Kudo’s hyperactive screenplay and a special-effects team drunk on alien slime.
  19. Love for Sale
    Not half as exotic or as compelling as Mr. Aïnouz’s 2002 film, “Madame Satã,” which examined the fantastic life of a transvestite prostitute and underground entertainer in 1930s and ’40s Rio de Janeiro. But it shares the earlier film’s deep sympathy with sexual free spirits in a rigid macho society.
  20. Skinwalkers
    Yawningly directed by Jim Isaac, Skinwalkers is a slavering mess that buries its clunky addiction metaphor beneath a welter of genre clichés, all delivered in extra-slow motion.
  21. 2 Days in Paris
    Audacious as it is, the movie is also a little scary.
    • 45 Metascore
    • 70 Critic Score
    Descent
    Hard to watch but essential to see, Descent is at once realistic and rhetorical, and driven throughout by righteous anger that comes from an honest place.
  23. Rocket Science
    The surest sign of the movie’s integrity is that it resists any temptation to build the story to a climactic debate.
  24. Rush Hour 3
    The junky, clunky, grimly unfunny follow-up to the marginally better “Rush Hour 2” and the significantly finer “Rush Hour,” isn’t the worst movie of the summer. But it’s an enervating bummer nonetheless, largely because it shows so little respect for its two likable stars and its audience.
  25. Stardust
    Michelle Pfeiffer is Lamia, as deliciously evil a witch as the movies have ever invented.
    • 71 Metascore
    • 80 Critic Score
    Crossing the Line
    So fascinating that Crossing the Line is riveting.
    • 13 Metascore
    • 30 Critic Score
    Daddy Day Camp
    A recruiting poster for kids, insisting that there’s no domestic problem that military values can’t solve.
  28. In Paris
    Picks up where the early François Truffaut and his comrades-in-cinema left off -- with a playful, liberatory style, and a song (actually, a few) in his heart and on his actors’ lips.
  29. The Bourne Ultimatum
    Mr. Greengrass knows how to do his job, and there’s no one in Hollywood right now who does action better, who keeps the pace going so relentlessly, without mercy or letup, scene after hard-rocking scene.
  30. The Ten
    A “Decalogue” for special-ed students, The Ten leans too often toward the bizarre and the bewildering. And though rough sex is a recurring motif, the movie’s overall tone is less blasphemous than raunchy.
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