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. The Adventures of Pluto Nash
    Strands one of the most gifted casts assembled in some time. Sadly, though many of the actors throw off a spark or two when they first appear, they can't generate enough heat in this cold vacuum of a comedy to start a reaction.
  2. Mostly Martha
    Extremely enjoyable, though a few degrees shy of perfection.
  3. Blue Crush
    It's hard to resist being swept up in Blue Crush, not least because David Hennings's shimmery photography carries the breeze and spray of the island right into the theater. The movie is also the latest example of a subgenre that might be called feminexploitation.
  4. Katakuri-ke no kôfuku
    It's all very zany. Occasionally it is even madcap. You would almost be tempted to smile at times, albeit weakly, if it weren't for Mr. Miike's habit of pounding home every joke with exaggerated reaction shots.
  5. All My Loved Ones
    The material continues to carry its inherent emotional power and moral importance. As banal as the telling may be -- and at times, All My Loved Ones more than flirts with kitsch -- the tale commands attention.
  6. I'm Going Home
    Gives you the steady pulse of life in a beautiful city viewed through the eyes of a character who, in spite of tragic loss and increasing decrepitude, knows in his bones that he is one of the luckiest men alive.
  7. The Château
    Here is one performer (Testud) whose features -- small sad eyes, sharp nose, wide rueful smile -- can sustain a feature by themselves.
  8. Scarlet Diva
    Permeated by a self-pitying, adolescent naïveté.
  9. Secret Ballot
    A very minor contribution to the great corpus of Iranian cinema that has emerged in the last 20 years.
  10. xXx
    Action fans will watch their adrenaline levels redline, and those not at ease with this climax-after-climax style will white knuckle their way through to the end.
  11. The City of Lost Souls
    (Miike's) work is fun to look at but emotionally unengaging, perhaps because he can't summon enough belief in his pulp-fiction characters to make them come alive.
  12. 24 Hour Party People
    "Print the legend," Mr. Wilson says at one point, both quoting John Ford and laying the foundation for his own often fact-free fabulous fabulism. And this movie is just that -- fabulous.
  13. Stripped
    This is a bumpy ride, but one worth taking.
  14. Blood Work
    A wry exercise in geriatric uplift.
  15. Spy Kids 2: Island of Lost Dreams
    The movie is a gaudy, noisy thrill ride -- hyperactive, slightly out of control and full of kinetic, mischievous charm.
  16. The Good Girl
    There's more to everyone here than we're initially led to think. The Good Girl is like a neurotically charged post-millennial take on the trailer-park comedies that Jonathan Demme once claimed for himself.
  17. Martin Lawrence Live: Runteldat
    This picture is mostly a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer.
  18. Full Frontal
    The aesthetic of Full Frontal is as rough and grainy as the off-the-rack digital video in which much of it was shot.
  19. One Last Kiss
    Provides more than enough sentimental catharsis for a satisfying evening at the multiplex.
  20. The Master of Disguise
    A film so family-safe it feels sheathed in plastic Bubble Wrap. Unfortunately, it's not even as much fun as popping the bubbles. It doesn't matter that the film is less than 90 minutes. It still feels like a prison stretch.
  21. Signs
    Mr. Shyamalan never gives us anything to believe in, other than his own power to solve problems of his own posing, and his command of a narrative logic is as circular -- and as empty -- as those bare patches out in the cornfield.
  22. Gaza Strip
    Mr. Longley makes powerful use of the techniques of cinéma vérité. The absence of voice-over narration and talking-head interviews gives his portrait of daily life under duress a riveting immediacy.
  23. Merci Pour Le Chocolat
    Mr. Chabrol's droll assault on petit-bourgeois security feels like a satire of "Ordinary People" directed by Alfred Hitchcock.
  24. The Kid Stays in the Picture
    One of the funniest, and most telling, films of the year. The filmmakers call "Kid" a documentary, but the movie is one of the unusual kind that is firmly lodged inside the subject's perspective.
  25. Swimming
    Without exaggerating their lovability or condescending to their foolishness, Mr. Siegel makes vivid, likable people out of his three protagonists as they affect one another and are affected in turn.
  26. Lan Yu
    Lan Yu is like a less dizzily gorgeous companion to Mr. Wong's "In the Mood for Love" -- very much a Hong Kong movie despite its mainland setting.
  27. I Am Trying to Break Your Heart
    A photographer for magazines like Vanity Fair and GQ, as well as a veteran director of commercials, Mr. Jones brings a trained eye to this, his first documentary. The low gray skies of Chicago prove once again to be a boon to photography, and the city has seldom looked better than it does here, in its chilly, minimalist beauty.
  28. The Country Bears
    Sandwiched between the musical numbers are an eclectic assorment of cameos, including Willie Nelson, Queen Latifa and Elton John. The funniest one comes during the closing credits, when the rapper Xzibit testifies that the Country Bears were a formative influence on hip-hop, certainly something the Eagles could never claim.
  29. Who Is Cletis Tout?
    This mistaken-identity picture is so film-culture referential that the final product is a ghost.
  30. Austin Powers in Goldmember
    Like a giant balloon painted with Day-Glo colors, however, the whole gaudy mess wouldn't inflate without the force of Mr. Myers's comic genius. It's his baby, baby. And after three editions, it's still flying high.
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