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. Happy Times
    A wise, gentle and sad new comedy by Zhang Yimou.
  2. K-19: The Widowmaker
    (Director Bigelow) piles up one nerve-racking crisis after another, interspersed with moments of ethereal, almost otherworldly beauty.
  3. What to Do in Case of Fire
    Its bone-deep willingness to do anything to entertain is exhausting.
  4. Stuart Little 2
    What sets the "Stuart Little" franchise above most of the competition is its emphasis on sharply drawn character and its profusion of witty remarks (mostly from the mouth of Snowbell) that are cutting enough to amuse grown-ups without sailing over children's heads.
  5. Tadpole
    Shot in just two weeks with a hand-held digital camera, the movie often looks frayed around the edges. Yet it has a soulful heart and a clear grasp of its rarefied milieu (Manhattan upper-level moneyed academia).
  6. Eight Legged Freaks
    Awkward, obvious and sporadically -- very sporadically -- amusing.
  7. Langrishe Go Down
    A teasing, oblique curiosity of a movie.
  8. Ayurveda: Art of Being
    As a believer preaching to an audience of believers, he (Nalin) feels no need to offer proofs or anything even approaching a rational argument.
  9. All About Lily Chou-Chou
    Much of All About Lily Chou-Chou is mesmerizing: some of its plaintiveness could make you weep. If only Mr. Iwai trusted the material enough.
  10. My Wife Is an Actress
    A terrifically deft picture about the thick line that separates movie glamour from the real world, and the thin line between common sense and paranoia.
  11. Metropolis (re-release)
    Metropolis retains its power to overwhelm, trouble and move because it is connected to the deep anxieties of modern life as if by a high-voltage cable.
  12. The Crocodile Hunter: Collision Course
    A curiously thrilling and often hilarious experience.
  13. Tosca
    For the most part, it works beautifully as a movie without sacrificing the integrity of the opera.
  14. Reign of Fire
    Loads of fun. It has a jamming B-picture buzz -- the kind of swift filmmaking and high spirits that have been missing from movies for a while.
  15. Sex and Lucia
    Both refreshing and confusing, the film equivalent of an ice cream headache.
  16. Never Again
    The movie, like its lovers, is really two films smushed together in the faint hope that sheer incongruity can grind out laughter.
  17. Halloween: Resurrection
    Spectators will indeed sit open-mouthed before the screen, not screaming but yawning.
  18. Road to Perdition
    A truly majestic visual tone poem.
  19. Last Dance
    One of the thrills of the movie is watching the improvisatory trial-and-error process as the dancers explore psychological themes, contorting their graceful, amazingly limber bodies into visual representations of relationships and emotional states.
  20. Ziggy Stardust and the Spiders from Mars
    It is billed as a "restored version," though the sound is still fuzzy and the image only occasionally rises to the level of murk.
  21. 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.
  22. Rocco and His Brothers (re-release)
    Neither the neighborhood intimacy of "Mean Streets" nor the grandeur of the "Godfather" movies is imaginable without Visconti's example. Its richness, though, is inexhaustible, and well served by the spotless new 35-millimeter print being shown at Film Forum.
  23. Me Without You
    Under its drab contemporary trappings, the movie, is really a Jane Austen-like moral parable in which goodness is rewarded and selfishness punished.
  24. Read My Lips
    Like so many European pictures these days, Read My Lips seems destined to be remade in Hollywood, and it is unlikely to be improved by the addition of vainer actors, a simpler screenplay and flashier direction.
  25. Group
    It is all a contrivance; the cast and filmmakers were under the delusion that putting unhappy women in a room would lead to drama.
  26. 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.
  27. Like Mike
    The director's breezy steadiness keeps the movie from hitting us over the head -- well, not too hard, anyway, no small feat since the steroid-juiced sentimentality of the ending may force some to flee before the outtakes unspool under the credits.
  28. Men in Black II
    As fizzy as the first, but not quite as refreshing. The pleasurable, eye-popping sense of surprise has diminished, and the teasingly referential attitude shows signs of fatigue.
  29. Songs from the Second Floor
    A heartbreakingly thoughtful minor classic, the work of a genuine and singular artist.
  30. The Powerpuff Girls
    What's really so appealing about the characters is their resemblance to everyday children. They're wildly energetic, competitive and (sometimes dangerously) impulsive. But they also learn from their mistakes, and their instincts are good. More power to them.
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