The New York Times' Scores

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For 20,324 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: 9,408 out of 20324
  2. Mixed: 8,449 out of 20324
  3. Negative: 2,467 out of 20324
20324 movie reviews
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  1. Party Monster
    His (Culkin's) performance is earnest and brave, but also mannered when it should be un-self-conscious, and awkward when grace is called for.
  2. Dickie Roberts: Former Child Star
    Maintaining a winking distance from his comic persona, Mr. Spade radiates a cunning show-business cynicism that lets you know he's aware that he's slumming to make a buck.
  3. Taking Sides
    Sparked by the actors' powerful performances, Arnold's moral absolutism and Furtwängler's lofty aestheticism make for a dramatically compelling clash.
  4. Hey! Is Dee Dee Home?
    A rueful, reflective companion piece to "Born to Lose."
  5. The Backyard
    This stuff is much too strange and much too disturbing to be invented.
    • 68 Metascore
    • 80 Critic Score
    The Taking of Pelham One Two Three (re-release)
    Throughout, there's a skillful balance between the vulnerability of New Yorkers and the drastic, provocative sense of comedy that thrives all over our sidewalks.
  7. Once Upon a Time in the Midlands
    What really separates "Midlands" from Leone's desiccated, terse genre work is Mr. Meadows's doting attention to his characters' decency. It gives a demonstrative bittersweetness to a likable but small story.
  8. Civil Brand
    Before Civil Brand erupts into over-the-top melodrama (which is pretty early), it shows some interest in its characters, and in its less screechy moments the dialogue has the rough, bantering ring of actual speech.
  9. The Other Side of the Bed
    A satire of contemporary sexual warfare that leaves you smiling but also stung.
  10. Jeepers Creepers II
    You don't have to be a horror-movie scholar to know that nothing significant is going to happen in any movie with "2" in the title; the creature has to stay around long enough at least to complete a trilogy and fill out a nice boxed set of DVD's.
  11. Suddenly
    When Suddenly finds its soul in the last half-hour, the title begins to make a lovely sort of sense.
  12. My Boss's Daughter
    This muddled comedy of confusion feels as if it were a Farrelly brothers' comedy that has sat exposed to the elements long past its expiration date.
  13. Dust
    A potent, assured and ambitious piece of filmmaking brought down by weighted dialogue and, playing Americans, the British actors Adrian Lester and Joseph Fiennes and the Australian David Wenham.
  14. The Medallion
    As soon as the medallion appears, so do the digital maneuverings -- speeded-up movement, composite images, objects and people morphing into supernatural thingamajigs -- that undercut the genuine thrills of the genuine action.
  15. Babí léto
    Mr. Brodsky's final screen performance in one of his richest roles finds overlapping layers of humor and pathos.
  16. Stoked: The Rise and Fall of Gator
    A skillfully organized account of Mr. Rogowski's life and of the sport's boom period. But despite the earnest testimony of two former girlfriends, the movie maintains a chilly distance from its subject.
  17. Rana's Wedding
    Ms. Khoury, often filmed in close-up, gives a deeply sensitive, unsentimental performance, and the feelings that crowd on her face (sometimes more than one at a time) run the gamut from despair to ambivalence to hysterical frustration to tenderness and joy.
  18. Green Card Fever
    An amiable but highly didactic romantic drama.
  19. Don't Tempt Me
    An unfocused, overplotted, painfully derivative comic fantasy.
  20. Venus Boyz
    She (Baur) has clearly earned the trust and respect of her subjects, the first qualification for any responsible documentarist, and they have repaid her with an intimate glimpse into their singular lives.
  21. The Battle of Shaker Heights
    May lead to a new axiom: success has many fathers, but failure has "Project Greenlight."
  22. Marci X
    This is the kind of comedy in which the characters are construction-paper cutouts whose abrupt changes of heart are dictated entirely by the preposterous plot and not by psychological or social reality.
  23. Dog Days
    The believability comes from the casting: he has found a group of actors and nonprofessionals who interact spectacularly well.
  24. Thirteen
    Ms. Wood's performance bounces with mood swings from anxiety to exhilaration in a movie with moments so realistically painted that your eyes will sting from the fumes.
  25. Catching Out
    The scruffy, outspoken train-hoppers in Sarah George's exhilarating documentary, Catching Out, are a sure sign that the pioneer spirit still flickers in pockets of TV-wired America.
  26. Uptown Girls
    Fatally true to the hypocritical values of its niche market. While pretending to teach a lesson in compassion, it wallows in the perks of privilege.
  27. Passionada
    As Passionada ambles toward a formulaic fairy-tale ending, it exudes such giddy self-assurance that you wish you could believe in it.
  28. Johnny Guitar (re-release)
    A goofy and remarkable film.
  29. Freddy vs. Jason
    This dumb, only intermittently (though sometimes even intentionally) funny sequel presumes that since almost everything else from the 1980's has come back, why not the cynosures of the "Nightmare on Elm Street" and "Friday the 13th" movies?
  30. American Splendor
    There's as much at stake in the hilarious, moody and cantankerous film adaptation of "Splendor" as there was in this summer's other movies of comic-book antiheroes like "The Hulk" and "The League of Extraordinary Gentlemen."
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