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. Legends of the Fall
    These are performances that lost too much in the editing room, smothered by music and overshadowed by a picture-postcard vision of the American West.
  2. The Black Stallion
    For all its pretty glimpses of the desert island, the film never offers a clear, overall sense of what the place looks like; neither the camera nor the boy really goes exploring.
  3. All Dogs Go to Heaven
    The appeal of character and story line here is thoroughly overshadowed by the various technical feats involved in bringing the film to the screen.
  4. The Muppet Movie
    It's also very well written by Jerry Juhl and Jack Burns and directed by James Frawley ("Kid Blue," "The Big Bus") with a comic touch that never becomes facetious.
  5. Salt
    She is the prime special effect, and a reminder that even in an era of technological overkill, movie stars matter.
  6. Jonah Hex
    Though it has bad word of mouth, Jonah Hex is generally better, sprier and more diverting than most of the action flicks now playing, "The A-Team" included.
  7. Takers
    There is plenty of nonsense, a great deal of stylish posturing and clothes-horsing, and a few action sequences that manage to be both gripping and preposterous.
  8. The Killer Inside Me
    Michael Winterbottom’s nasty and uneven adaptation of Jim Thompson’s surpassingly mean little crime novel.
  9. Prince of Persia: The Sands of Time
    For the most part this is perfectly painless mush. The movie is irrepressibly silly -- what were you expecting? -- but a few hours of Mr. Gyllenhaal jumping around in leather and fluttering his long lashes has its dumb-fun appeal.
  10. Robin Hood
    If only the story were leaner and more nimble -- but then again this is a Ridley Scott film, so you go in expecting bombast and bloat in the service of leaden themes.
  11. Date Night
    Date Night, like so many other films of its type, too often relies on words, catchphrases and inflections that signify a generally accepted notion of funniness rather than being, you know, actually funny.
  12. The Joneses
    As the shills reveal their souls, the movie turns into an exercise in the very phoniness it initially set out to expose. And since you’ve already paid for the ticket, you might end up feeling cheated.
  13. The Back-up Plan
    A not very good and yet painless waste of time.
  14. The Losers
    About the only thing that distinguishes this iteration from those of yore is that the violence is more explicit, the edits are faster, and no one has a stogie stuck in his kisser.
  15. A Nightmare on Elm Street
    It’s moderately entertaining and instantly forgettable. Poor Freddy. I can’t help thinking he deserves better.
  16. Chalk
    Finally fails to escape the conventions of the Hollywood cinema it so proudly deplores.
  17. Journey to Western Xia Empire
    The landscape photography is magnificent...But its stereotypical characters, melodramatic plotting and audience-pleasing close-ups of adorable children all suggest the profound limitations of filmmaking by committee, whether that committee meets in Beijing or Burbank.
  18. Beyond the Ocean
    Dour and bleak, yet this melodrama -- which doesn't amount to much of anything -- may stick with you.
  19. Blink of an Eye
    Requires a bit more energy and originality to set it apart from the run of the indie pack.
  20. Santa vs. the Snowman
    It is best appreciated as an immersion in a three-dimensional toyland outfitted with enough whimsical gadgetry to fill a thousand playrooms.
  21. Stealing the Fire
    The material is disparate and wide ranging, and it is often difficult to follow Mr. Friedman and Mr. Nadler down all the side streets and back alleys of their investigation.
  22. Fallen Angels Paradise
    Exudes a randy, robust charm as it unapologetically thumbs its nose at respectability and everything the word implies.
  23. Clouds
    Clouds is about the dumbest intelligent movie I've ever seen.
  24. Tattoo Bar
    The problem with the baroque and overripe Tattoo Bar is that everybody has a past. And there's so much crosscutting to those pasts in flashbacks, it's hard to keep track of whose past you're witnessing.
  25. Presumed Guilty: Tales of the Public Defenders
    Makes compelling viewing. But it is viewing of an eerily familiar kind, almost as if the real-life lawyers in the film had patterned themselves on television archetypes.
  26. Hidden in Plain Sight
    A sober, focused piece that asks Americans to take another look at what is going on in their own backyard.
  27. Children of Love
    Leaves a sour aftertaste since it's obvious that the filmmaker's intrusion on these unhappy people, fictional or not, only further worsens their discomfort and their difficulty communicating.
  28. Risk/Reward
    The moderately arresting Risk/Reward suffers from a lack of resources and is writ small, suggesting that it may play better on television.
  29. Foreign Sister
    There is a reason formulas endure: they work. And even under these threadbare circumstances, the developing friendship between the two women carries a faint but effective dramatic charge.
  30. Anonymous
    The real love story here may be between Todd the exhibitionist and Mr. Verow the voyeur, peeping in on his character's activities. They look to have a long and happy future together.
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