The New York Times' Scores

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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
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  1. The Good German
    In his genre pastiche The Good German, Steven Soderbergh has tried to resurrect the magic of classical Hollywood, principally by sucking out all the air, energy and pleasure from his own filmmaking.
  2. Breaking and Entering
    What saves Breaking and Entering from foundering altogether in earnest self-regard is Mr. Minghella's evident affection for London, a city of inexhaustible architectural and human variety.
  3. Eragon
    If some of the characters won't be returning for the sequel, no matter. In all likelihood, neither will the audience.
  4. Home of the Brave
    As this cautious, politically evenhanded movie grinds along like clockwork, the fuse that should spark an emotional explosion fizzles after some sporadic hisses and sputters.
  5. Night at the Museum
    This season's answer to "Dr. Seuss' How the Grinch Stole Christmas," it's an overstuffed grab bag in which lumps of coal are glued together with melted candy.
  6. Primeval
    The screenplay, by John Brancato and Michael Ferris, tosses out a few chewy bits of B-movie wit, most of them supplied by Mr. Jones, who expresses the ambivalence of an African-American visiting the motherland through a series of bitter jokes.
  7. Blood and Chocolate
    Uninvolving and cliché-ridden (even shape-shifters, it seems, deserve a falling-in-love montage), Blood & Chocolate is "Romeo and Juliet" with fewer manners and more exotic dentition.
  8. Epic Movie
    The humor is coarse and occasionally funny. The archly bombastic score, by Edward Sheamur, is the only thing you might call witty. But happily, Jennifer Coolidge and Fred Willard show up, as the White Bitch and Aslo the Lion, to add some easy, demented class.
    • 41 Metascore
    • 40 Critic Score
    Constellation
    If earnestness equaled skill, Constellation would be a classic.
  10. Norbit
    Not exactly uproarious. But Mr. Murphy, going back at least to his Gumby and Buckwheat days on "Saturday Night Live," has always had the ability to turn broad caricature into something stranger and more inventive.
  11. Coffee Date
    Leaving no cliché unturned, Coffee Date provides cheesy music, chats about "gaydar" and the obligatory are-you-looking-at-mine? urinal scene.
  12. Antibodies
    As is often the case when ambitious young filmmakers have murder and profit on their minds, Mr. Alvart is finally less interested in the nature of man than in the cool stuff you can do with a camera, which he tosses about the set, swooping it up and down and all around, without rhyme or reason.
  13. Reno 911!: Miami
    What feels amusingly anarchic on the small screen feels underdeveloped and disjointed on the big screen, perhaps because instead of commercials gluing the jokes together there’s dead air.
  14. The Abandoned
    After a while, Mr. Cerdà exhausts his repertory of spooky effects -- too many dark hallways and illogical, foreboding point-of-view shots -- and you begin to hunger for exposition, always a bad sign in a horror film. Even worse is that, by the time the explanations arrive, you no longer care.
  15. Wild Hogs
    Mr. Lawrence and Mr. Allen, who have never aspired very far beyond their affable television-comedy personas, are easier to watch than Mr. Travolta or Mr. Macy, who both undertake what can only be called acting. This is more than the picture deserves, but then again, so is Ray Liotta, as the chieftain of the bad bikers, and so is Ms. Tomei.
  16. The Ultimate Gift
    Reeking of self-righteousness and moral reprimand, Michael O. Sajbel’s Ultimate Gift”is a hairball of good-for-you filmmaking.
    • 33 Metascore
    • 40 Critic Score
    My Brother
    The movie's strongest element is the chemistry between the reflective Mr. Kearse and Mr. Scott (who really has Down syndrome). Improving on its obvious antecedent in "Dominick and Eugene," their relationship feels real, not like a movie contrivance.
    • 32 Metascore
    • 40 Critic Score
    The Hills Have Eyes II
    The film is brazenly indebted to old cowboys-and-Indians movies and to James Cameron’s "Aliens." Gleefully sensationalistic and paced like an adults-only shoot-'em-up video game, it's ultimately less interested in subversion and subtext than in making viewers squirm, shriek and throw up into their popcorn bags.
  19. TMNT
    The turtles themselves may look prettier, but are no smarter; torn irreparably from their countercultural roots, our superheroes on the half shell have been firmly co-opted by the industry their creators once sought to spoof.
  20. Meet the Robinsons
    Meet the Robinsons is surely one of the worst theatrically released animated features issued under the Disney label in quite some time.
  21. The Hawk Is Dying
    Set in North Florida and based on a book by Harry Crews, The Hawk Is Dying is a dreary study of male angst groaning beneath the weight of its own symbolism.
  22. Race You to the Bottom
    Self-consciously edgy and romantically limp.
  23. Are We Done Yet?
    An ill-advised sequel to "Are We There Yet?" and a feeble fable of better parenting through home improvement.
  24. The Reaping
    The only remotely notable thing about this particular jumble of boos, bangs and door creaks...is that it tries to wed the horror trend with the heated-up God market.
  25. Redline
    This film is about surfaces, for young men with testosterone to burn, and the racing passages snap.
  26. In the Land of Women
    The meek, mopey comedy In the Land of Women is the film equivalent of a sensitive emo band with one foot in alternative rock and the other in the squishy pop mainstream: a softer, fuzzier "Garden State."
  27. The Invisible
    This latest recycling of foreign-grown frights shows less interest in horror than in healing.
  28. Kickin It Old Skool
    A romantic subplot is formulaic, and, most disappointing, the break-dance sequences don't sizzle, though the film's director, Harvey Glazer, is known for his music videos. Keep an eye out, however, for some nutty cameos.
  29. Next
    In Next, a crummy action and speculative-fiction hybrid, Nicolas Cage plays a guy who can see into the future two minutes at a time. It's too bad that Mr. Cage couldn't tap into those same powers of divination to save himself from making yet another inexplicably bad choice in roles.
  30. The Wedding Weekend
    Fortunately, there is Molly Shannon as the money manager's disgruntled wife, giving a selfless, robust performance. Bracingly astringent in an unlikable role, she almost turns a potential liability into the film's salvation.
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