The New York Times' Scores

Select another publication »
For 20,323 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 20323
  2. Mixed: 8,448 out of 20323
  3. Negative: 2,467 out of 20323
20323 movie reviews
view
per page
  1. Kill Your Idols
    Despite his access to both No Wave luminaries and atmospherically battered footage of various bands wreaking havoc at various venues, Mr. Crary never figures out what story he wants to tell.
  2. You, Me and Dupree
    A limp attempt to wed a romantic comedy to a buddy comedy, largely because the filmmakers see women as visitors from another planet, which is more or less what they now are in Hollywood.
  3. Mad Cowgirl
    A demented jag of blasphemy, multicultural weirdness, splatter-movie tropes and inchoate meat metaphors, Mad Cowgirl is an underground movie with little sense of grounding; the point is an aggressive pointlessness.
  4. Azumi
    The director, Ryuhei Kitamura, whose earlier films include the cult film "Versus," brings nothing new to the samurai-swordsman game other than some styling shorts for the whelps and a miniskirt for Azumi.
  5. Barnyard
    Like too many animated films aimed at children, Barnyard embraces stereotypes that generally no longer cut it in adult films, and for good reason.
  6. Jailbait
    A stagy, only mildly compelling prison drama that ends up feeling like purgatory to all involved.
  7. Hamilton
    To call Hamilton minimalist filmmaking is an understatement. Without plot or incident, and with only the flimsiest of characterizations, the movie operates primarily on the level of suggestion and insinuation.
  8. Poster Boy
    A polemic masquerading as a movie, Poster Boy unspools like a humorless lecture on right-wing homophobia.
  9. Trust the Man
    Ms. Moore is nicely lighted, but she too is poorly served by Mr. Freundlich's unfunny, unfocused screenplay, which basically stitches together a series of short scenes of four people whining in various combinations.
  10. Idlewild
    The joint doesn't jump in the musical Idlewild; it just twitches and stumbles. As much a missed opportunity as a terrible tease.
  11. Fratricide
    Every so often, Mr. Arslan cuts to Kurdistan, where a group of women wander the barren landscape, a Greek chorus gone astray in a film gone amiss.
  12. Princesas
    A maudlin melodrama about prostitutes in Madrid, Princesas is not, alas, the new film by Pedro Almodóvar, but a dilution of his manner by the writer-director Fernando León de Aranoa.
  13. Surviving Eden
    Although the early scenes hold out some promise...the movie quickly runs out of ideas.
  14. I Trust You to Kill Me
    Inconsequential documentary.
  15. The Black Dahlia
    Mr. De Palma can be a director of dazzling creative lunacy, but there's little craziness in this restrained, awkward film. With the diverting exception of Hilary Swank, who plays a slinky degenerate named Madeleine Linscott, the leads are disastrous.
  16. Confetti
    Content to go only a third of the way to the bottom of its characters, the movie gives each a few comic tics and leaves it at that.
  17. Checking Out
    Stagy, stiff and marinated in egg cream.
  18. Employee of the Month
    Employee of the Month is more tired than a Wal-Mart greeter at the end of a Saturday shift. One can only hope its halfhearted suggestion that winning isn't everything is some comfort if the movie's grosses are as disappointing as its jokes.
  19. Frankenstein's Bloody Nightmare
    Purely for curiosity’s sake this unusual, intermittently hypnotic quasi monster flick is worth checking out, at least until the initial "what is this?" effect wears off and it becomes as tiresome as listening to someone relate long-winded tales about nightmares or drug-induced exploits.
  20. The Grudge 2
    Puberty causes an exponential increase in evil -- and in incoherence -- in The Grudge 2.
  21. Man of the Year
    It swerves from thriller to romantic comedy to farce without much conviction, though you can occasionally salvage a glimmer of amusing possibility. Mr. Williams scores with a few throwaway jokes.
  22. The Marine
    Co-starring as Rome, the ringleader with "intimacy issues," Robert Patrick appears to be enjoying himself. That makes one of us.
  23. Saw III
    The most depressing thing about this series is not the creativity of the bloodletting but the bleak view of human nature.
  24. Death of a President
    Some will find profundity in the film's reversals and revelations, but its provocations are not particularly insightful or original. The Death of a President is, in the end, neither terribly outrageous nor especially heroic; it’s a thought experiment that traffics in received ideas.
  25. Shottas
    Cess Silvera, the film's writer and director, doesn't find any of the humanity or inner demons that would allow the characters to rise above B-movie exploitation.
  26. Unknown
    After a whole lot of buildup, and a real letdown of a payoff, the only enigma left is why we should care.
  27. The Return
    You may see scarier movies this year, but none so redolent of decomposition.
  28. Deck the Halls
    Mr. Broderick and Mr. DeVito look tired and out of sorts, and you can hardly blame them, given the picture's inept, curdled mixture of sappiness and crude humor.
  29. Deja Vu
    The joke of it is, for all the pricey bangs and booms, the whiplash cinematography and the editing that turns film space into cubistic tableaux, a Bruckheimer-and-Scott partnership is only as good as its screenplay, and this one is a mess.
  30. Opal Dream
    A warning to parents everywhere about the dangers of indulging irrational behavior, Opal Dream is a sickly sweet tale of deep dysfunction masquerading as family solidarity.
Page:

Top Trailers

See all »
See all trailers »