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. Les amitiés maléfiques
    As a group portrait of apprentice intellectuals the film has an almost documentary accuracy. It also has a degree of energy, an appetite for strong feelings and big ideas, notably missing in American movies about the young and overeducated, which tend to specialize in mumbled ironies and tiny epiphanies.
  2. The Wedding Weekend
    Fortunately, there is Molly Shannon as the money manager's disgruntled wife, giving a selfless, robust performance. Bracingly astringent in an unlikable role, she almost turns a potential liability into the film's salvation.
  3. Wind Chill
    A moody, spooky tale, rendered with laudable economy.
  4. Diggers
    A quintessential American independent movie, Diggers isn't going to change the history of cinema. But it has integrity. It feels like life.
    • 59 Metascore
    • 50 Critic Score
    The Short Life of José Antonio Gutierrez
    Although Ms. Specogna's film fleshes out his life to the extent that it can -- leaning heavily on still photographs and interviewing loved ones, social workers and fellow Marines -- the portrait remains frustratingly incomplete.
  6. Disappearances
    The movie, though lovingly handmade by Mr. Craven, has a frustratingly disjunctive rhythm.
  7. Ta Ra Rum Pum
    May take place entirely in New York, but that doesn't stop it from being a classic example of Bollywood family values.
  8. Zoo
    Paradoxically, it is precisely because Mr. Devor refuses to acknowledge the murkiness that clings to every frame in his film, because he refuses to engage with the world beyond that of the zoophiles, that they seem like creatures from some never-ending night.
  9. Triad Election
    More elegantly plotted and streamlined than the first film.
  10. Hot Fuzz
    Since Mr. Wright and Mr. Pegg are essentially parodying self-parodies, they have also smartly kinked up their conceit by setting most of the film in a sleepy village that might as well be called Ye Old English Towne, thereby wedding one of the most irritating British exports to one of the most absurd American ones. Think of it as "The Full Monty" blown to smithereens.
  11. Vacancy
    This banal horror retread involves a couple of critters flailing inside a sticky trap for what is, in effect, the big-screen equivalent of a roach motel.
  12. Fracture
    The screenwriters, Daniel Pyne and Glenn Gers, hit the customary thriller notes with a touch of humor, and the director, Gregory Hoblit (who worked similar terrain in "Primal Fear"), arranges those notes into a catchy, insistent rhythm.
  13. In the Land of Women
    The meek, mopey comedy In the Land of Women is the film equivalent of a sensitive emo band with one foot in alternative rock and the other in the squishy pop mainstream: a softer, fuzzier "Garden State."
    • 60 Metascore
    • 70 Critic Score
    Alice Neel
    It achieves the documentary format’s basic goal of illuminating history while also demonstrating, through filmmaking choices, how an artist’s style reveals his or her personality.
  15. The Valet
    If you love to hate the superrich, The Valet, a delectable comedy in which the great French actor Daniel Auteuil portrays a piggy billionaire industrialist facing his comeuppance, is a sinfully delicious bonbon.
  16. Stephanie Daley
    Without standing on a soapbox Stephanie Daley suggests a tragic gender gap between men who judge and women who feel.
  17. Downtown: A Street Tale
    Rehashing characters and plots from the "Law & Order" playbook, the director, Rafal Zielinski, supplements his material with religious iconography and more gauzy close-ups than a Barbra Streisand marathon.
  18. Syndromes and a Century
    Syndromes and a Century, like its curious title, has the logic of a dream, a piece of music or perhaps a John Ashbery poem. Its coherence is evident; it is too lovely and lucid to be frustrating or dull. But it takes place just on the other side of conscious apprehension.
  19. Red Road
    In the arresting Red Road, the dire Orwellian warning that Big Brother is watching has evolved from a grim fantasy of totalitarianism into a banal fact of life.
  20. Aqua Teen Hunger Force Colon Movie Film for Theaters
    Strictly for cultists, and even they might find less than 90 bongless minutes hard to sit through.
  21. Pathfinder
    The director, Marcus Nispel, takes his butchery very seriously. (He was the lead vivisectionist for the remake of "The Texas Chain Saw Massacre.") He may not be able to make this movie move, but, man, can he make an eyeball fly.
  22. Perfect Stranger
    The director, as he showed in movies like "After Dark, My Sweet," and "Fear," specializes in conjuring conspiratorial atmospheres in which anxiety and sexual menace hang in the air like a heavy, bitter perfume. Long after you've dismissed the movie's ridiculous, convoluted story, traces of that scent may linger.
  23. Redline
    This film is about surfaces, for young men with testosterone to burn, and the racing passages snap.
    • 49 Metascore
    • 50 Critic Score
    Dreaming Lhasa
    A fine example of how feature films can be used to deliver urgent political messages, but as drama, it doesn’t quite work.
  25. Lonely Hearts
    As fictional characters in a movie that is fetishistic in its attention to period detail, Mr. Leto and Ms. Hayek work well together as an unsavory couple two rungs down the social ladder from Fred MacMurray and Barbara Stanwyck in "Double Indemnity."
  26. Year of the Dog
    It's funny ha-ha but firmly in touch with its downer side, which means it's also funny in a kind of existential way.
  27. Slow Burn
    A wooden police thriller that is as dull as it is impenetrable and ultimately beyond ludicrous.
    • tbd Metascore
    • 60 Critic Score
    Modern Man
    If you go to movies expecting certain familiar elements -- plot, dialogue, relationships and so forth -- you'll want to throw popcorn at the screen. But if you tune into this film's rhythms, you'll leave the theater seeing the world with fresh eyes.
  29. Private Fears in Public Places
    The film is accessible, pleasant, dreamy, a touch goofy and melancholic. Its modernist gestures are little more than stylistic tics, but there's an image of snow falling on two clasped hands that is almost rapturous. The role of the artist remains, for Mr. Resnais, the role of a lifetime.
  30. The Glamorous Life of Sachiko Hanai
    Apparently started out as just another soft-core item, or what the Japanese call a pink film, but evolved into something more ambitious, sort of. Certainly it doesn’t look or play out like the typical American pay-TV fodder.
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