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. Captain Corelli's Mandolin
    As the movie methodically plods forward on a screenplay (by Shawn Slovo) consisting entirely of clichés and watered-down exposition, it becomes sadly apparent that its only reliable asset is the gorgeous view.
  2. Rat Race
    It lumbers from one scene to the next with the stop-and-start mistiming generally seen in the outtakes shown at the end of the "Cannonball Run" movies, which this picture resembles in spirit.
  3. Aberdeen
    Skarsgard and Headey deliver perfectly meshed lead performances in a small, beautifully acted film that will make you squirm.
  4. Hamlet
    Mr. Scott's is something that must be seen. It is, in a word, compelling.
  5. An American Rhapsody
    Ms. Gardos is not a particularly flavorful filmmaker, but she is an honest one.
  6. The Turandot Project
    The sheer scale of the production, and the size of the venue, make the film interesting to watch.
  7. All Over the Guy
    Some kind of equality has been achieved when it is impossible to distinguish heterosexual clichés from homosexual ones.
  8. American Pie 2
    The "American Pie" movies succeed where many other comedies aimed at the youth market falter: they manage to be both lewd and sweet, exploiting the natural prurience of young people while implicitly comforting their raging anxieties.
  9. Session 9
    The film, too artfully conceived to deliver many overt shocks, often feels long and aimless.
  10. The Others
    The icy reserve that sometimes stands in the way of Kidman's expressive gifts here becomes the foundation of her most emotionally layered performance to date.
  11. Osmosis Jones
    Often very smart about being silly.
  12. The Deep End
    Fastidious and smart, and Ms. Swinton's fixated intensity isn't ever remote; we're always aware of how deeply she's feeling. Her work is magnificent.
  13. Audition
    The picture is about victims -- but it's also a great, sick rush with a kicker on the level of "The Vanishing."
  14. The Blackout
    Like most of Mr. Ferrara's films, The Blackout takes place in a trance state -- events are fuzzy, line readings even fuzzier. There are mysterious ellipses in the plotline and lots of droning electric guitar work on the soundtrack.
  15. Original Sin
    Everything in this film is forgettable, right down to bongos pounding on the soundtrack to indicate a quickening of the pulse.
  16. Thomas in Love
    The film is full of ingenious details and effective character sketches (Thomas has a mother who would give Woody Allen the willies) that go a long way toward covering up its conventionalities.
  17. Under solen
    It has the melancholy mildew of both "Marty" and the 1940's weepie "The Enchanted Cottage."
  18. The Princess Diaries
    This is "Pretty Woman" for children.
  19. Rush Hour 2
    The action and humor are enough to make an hour and a half pass quickly and pleasantly.
  20. Apocalypse Now Redux
    In spite of its limited perspective on Vietnam, its churning, term-paperish exploration of Conrad and the near incoherence of its ending, (it) is a great movie. It grows richer and stranger with each viewing, and the restoration of scenes left in the cutting room two decades ago has only added to its sublimity.
  21. Greenfingers
    The film is as synthetic as a rubber rose, but it is all but indistinguishable from the organically grown, bred-in-Britain article.
  22. The Monkey's Mask
    Instead of suspense, there is confusion; instead of intrigue, a lot of inexplicable confrontation among characters whose significance is not so much enigmatic as obscure.
  23. Tokyo Eyes
    The portrayals by the fetching Ms. Yoshikawa and Mr. Takeda are consistently absorbing, and Mr. Limosin's plotting, though essentially gimmicky and manipulative, packs mystery and tension.
  24. Planet of the Apes
    When Mr. Burton's "Planet" fixes on being entertaining...it succeeds. But the picture states its social points so bluntly that it becomes slow-witted and condescending; it treats the audience as pets.
  25. Bread and Tulips
    Soldini's amiable new comedy suggests that an older, better Italy of imagination, rationality and civility survives on the fringes of a modern nation obsessed, like most others, with consumerism, empty prosperity and easy pleasure.
  26. He liu
    Whether or not The River is, as some critics have claimed, Mr. Tsai's masterpiece, it is an excellent introduction to his oblique narrative style, his favored themes and his careful, lyrical visual sensibility.
  27. Wet Hot American Summer
    In essence, it's a ragged collection of bits and sketches cobbled into about a dozen plots, most of which call upon the cast to do a lot of tongue and neck-spraining French kissing.
  28. Cure
    The final scene is a piece of cunning visual wit that makes you realize how artful and sneaky Cure, has been beneath its clinical, deadpan surface.
  29. Jackpot
    The movie is smart in small ways, yet an underachiever in big ones -- but it will probably play very well on television. On the big screen, it's distended and diffuse.
  30. Reykjavík
    Feels as though it is not about much, but it is so well acted that the lassitude becomes a part of the atmosphere.
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