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. Shrink
    These characters are mostly too sketchy and their connections too contrived for Shrink to jell as an incisive ensemble piece.
  2. The Goods: Live Hard, Sell Hard
    A comedy without a shred of obvious filmmaking and an endless stream of good, bad, sometimes terrible, often absurd jokes.
  3. Paper Heart
    Your enjoyment of Paper Heart will hinge almost entirely on your receptiveness to Ms. Yi and the extreme iteration of social awkwardness she represents.
  4. Post Grad
    Ms. Bledel works her “Gilmore Girls” charm to the hilt, but no amount of cerulean-eyed sparkle can transcend this level of thudding mediocrity.
  5. Shorts
    Soon becomes tiresome, but it’s emblematic of a film that is dancing as fast as it can to entertain.
  6. Earth Days
    A sedate chronicle of the highs and lows of the environmental movement, Earth Days is less a rousing call to action than a bittersweet stroll down memory lane.
  7. Spread
    More skin is shown in Spread than in most Hollywood movies. But despite twitches of insight into its characters and their world, Spread refuses go more than skin deep.
  8. Five Minutes of Heaven
    A feature-length talkathon built on a sketchy premise, some unpersuasive psychology, a pinch of politics and strong star turns from Liam Neeson and James Nesbitt, the appeal of all those words runs out long before the director Oliver Hirschbiegel turns off the spigot.
  9. Rashevski's Tango
    In the end, though, Mr. Garbarski makes no judgments, which leaves this film feeling sweet but light: we already knew that Judaism, like most other religions, is an ever-evolving collage.
  10. Walt & El Grupo
    What’s really missing here is a story of artistic regeneration: by the time we encounter a dazzling excerpt from the studio’s post-trip film, “Aquarela do Brasil,” we are only reminded of what might have been.
  11. Donne-moi la main
    Some viewers may enjoy Give Me Your Hand simply as an excuse to gaze at the Carril brothers.
  12. Fame
    While the movie suffers from a surfeit of flash, it nonetheless offers the undeniable power of young performers pursuing art at peak dexterity.
  13. Blind Date
    The self-consciousness of the premise and the playlike structure of Blind Date clash with the naturalism of Mr. Tucci and Ms. Clarkson’s acting styles, and the film never lifts itself above its origin as a well-meaning, underdeveloped exercise.
  14. The Stepfather
    A clumsy remake of the 1987 cult thriller.
  15. Ong Bak 2
    It’s really all about the fighting, carried out in a variety of Asian styles, including one Mr. Jaa invented for the film. Aficionados may find this thrilling. The rest of us will sink lower in our seats.
  16. William Kunstler: Disturbing the Universe
    Although the film, with its home movies and family reminiscences, portrays him as a heroic crusader for justice, it is by no means a hagiography of a man who earned widespread contempt late in his career for defending pariahs.
  17. Fix
    Propelled by an eccentric cast of characters and increasingly seamy locations, Fix dashes headlong through Los Angeles with a little charm and a lot of verve.
  18. Case 39
    Radiating a distinctly retro vibe, this throwaway thriller from the German director Christian Alvart tosses a bone to Renée Zellweger, who chews it to a nub as Emily Jenkins, a harried social worker.
  19. The Slammin' Salmon
    Has its share of funny moments. But it also has its share of tired ones, like the subplot involving the inadvertent swallowing of a ring.
  20. The Karate Kid
    Is this Karate Kid as good as the original? No, although it is better than the sequels. But why bother with nostalgia? It’s probably good enough.
  21. Red Riding Trilogy
    The Red Riding trilogy looks fine blown up on the big screen, though it’s easier to watch at home, where the remote offers fast relief from a grim fiction that, with its murky palette and unyielding cruelty, serves up a nihilistic vision that is unyielding, hermetic, unpersuasive and finally self-indulgent.
  22. The Crazies
    Mr. Romero is executive producer of the new film. Unfortunately, it doesn’t have his style or sense of humor.
  23. The Exploding Girl
    The Exploding Girl can also make you feel bad about wishing that she were just a little more interesting.
  24. Brooklyn's Finest
    Like Tango, Sal and Eddie, Mr. Fuqua and Mr. Martin dig themselves into a pulpy predicament, and then find themselves unable to do anything but shoot their way out. The movie is wounded, but it’s also too tough to kill.
  25. Repo Men
    It may have been a shrewd business decision by the film’s director, Miguel Sapochnik, to treat the story as a nasty, comic thriller. But when, after a certain point, Repo Men subsumes its satire to strenuous action sequences, it loses its edge and turns into a chase movie of no special distinction.
  26. The Girl with the Dragon Tattoo
    Though Ms. Rapace is a fine professional scowler, with cheekbones that thrust like knives and a pout that’s mostly pucker, she tends to register as an intriguing idea instead of a thoroughly realized character. She more or less looks the part that the filmmakers don’t let her fully play.
  27. Chloe
    Mr. Egoyan has shown off these etchings before -- a solemn young woman in lingerie, a handsome older man in the throes of erotic distress -- and the artistry he brings to the display feels tired and thin this time around. Chloe works hard at seduction, but its heart isn’t really in the game.
  28. The Eclipse
    A moody little number, The Eclipse makes good on its name by sometimes obscuring its themes and even point, which can have its charms though also severe drawbacks.
  29. Ultimate X: The Movie
    This compilation of blisteringly tight stunts plays like the world's longest Mountain Dew commercial.
  30. The Brothers
    Darts nervously between soap opera and sitcom, rarely blending them in a way that lets the two genres enhance each other.
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