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. Loners
    With its studied nonchalance, Loners reaches neither the hilarity of an episode of "Friends" nor the ethnographic stickiness of "The Real World" on MTV.
  2. Domestic Violence
    The picture itself is about, yes, cycles, and as tiresome as that sounds, 10 minutes into the film you'll be white-knuckled and unable to look away.
  3. Waydowntown
    A smart, sardonic satire.
  4. Maelstrom
    Probably the first romantic drama ever narrated by a smelly dead fish.
  5. The Son's Room
    The movie's rejection of even a tinge of melodrama lends it a special integrity.
  6. The Mothman Prophecies
    About as threatening as the real-life insect the apparition resembles; its large, mossy wings may scare some people, but the bug can only damage your woolens. The movie flirts with more damage than it can actually cause.
  7. Wannabes
    Doesn't really know how to end. But if its melodramatic final moments are ludicrous, they don't seriously dilute the acidity of the sour little swatch of urban sociology that has come before.
  8. Hey, Happy!
    The film feels too formulaic and too familiar to produce the transgressive thrills of early underground work.
  9. Metropolis
    A hallucinatory tour de force of color, perspective and scale, virtually encapsulates the history of Japanese animation.
  10. Storytelling
    The most pleasing paradox in Storytelling -- a determinedly paradoxical and, in spite of much of what I've said here, a genuinely pleasing movie -- is that it sets out to debunk this notion and ends up affirming it.
  11. The Count of Monte Cristo
    The film's resolute indifference to fashion makes it, perhaps paradoxically, a refreshing piece of old-style entertainment, accompanied by a whooshing, trembling score by Edward Shearmur.
  12. Beijing Bicycle
    At once somber and mysterious, comical and sad. It shows just how lonely a crowded city can be.
  13. A Walk to Remember
    Proves that a movie about goodness is not the same thing as a good movie.
  14. Kung Pow: Enter the Fist
    To imagine the life of Harry Potter as a martial arts adventure told by a lobotomized Woody Allen is to have some idea of the fate that lies in store for moviegoers lured to the mediocrity that is Kung Pow: Enter the Fist.
  15. Beyond the Ocean
    Dour and bleak, yet this melodrama -- which doesn't amount to much of anything -- may stick with you.
  16. American Adobo
    As the film loses its grip on its multiple stories, the title begins to suggest an overheated stew bubbling out of its pot. By the end of the film, the intersecting dramas and histrionic performances have spilled all over the floor, so to speak.
  17. Ha-Hesder
    Leaves a movie that wants to be a searching moral examination of human motivation under stress frustratingly opaque at the center.
  18. Italian for Beginners
    Despite its hip, off-center style and pointed de-glamorization of its singles, the movie adds up to little more than feel-good fluff.
  19. State Property
    At the end the picture seems to acknowledge its own ludicrousness, but by then it, like Beans, is beyond rescue.
  20. Snow Dogs
    Snow Dogs is, even by the standards of a tradition that includes "Son of Flubber" and "The Shaggy D.A.," remarkably inept.
  21. Milan Hlavsa a Plastic People of the Universe
    In short, here is a VH1 "Behind the Music" special that has something a little more special behind it: music that didn't sell many records but helped change a nation.
  22. Abschied - Brechts letzter Sommer
    Extremely well acted. But as frequently as The Farewell touches on politics, it is essentially an excoriating (and sometimes grimly amusing) domestic drama of a latter-day king and his concubines.
  23. Brotherhood of the Wolf
    The picture has a daring attention-span deficit and an epic silliness that can be awesomely entertaining.
  24. E-Dreams
    The movie is a little claustrophobic -- a marathon of conference calls, frenzied pointing and clicking, and office pep talks.
  25. Orange County
    The gags and subplots, rather than adding up to sustained hilarity, compete with each other.
  26. What Time Is It Over There?
    Tsai not only gives the audience a chance to breathe but also lets us luxuriate in the mood of deadpan melancholy his movie evokes so beautifully.
  27. Escape to Life: The Erika and Klaus Mann Story
    The re- enactments, however fascinating they may be as history, are too crude to serve the work especially well.
  28. Impostor
    The ending is meant to be clouded with ambiguity, but really it is unequivocally happy because it means the movie is over.
  29. Rivers and Tides: Andy Goldsworthy Working with Time
    As the film's images accumulate, the movie becomes a sustained and ultimately refreshing meditation on surrender to the idea of temporality.
  30. Charlotte Gray
    The movie works so diligently to convey a spirit of heroic uplift and fails so completely that it feels like a tragic misfire.
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