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 Spiderwick Chronicles
    Instead of the kind of inspired imaginative synergy that distinguished the “Lord of the Rings” and later “Harry Potter” pictures, this movie, directed by Mark Waters (“Mean Girls”), feels more like a sloppy, secondhand pander.
    • 17 Metascore
    • 40 Critic Score
    Witless Protection
    The slapstick and action set pieces are lame, and its performances range from competent to annoying.
  3. The Other Boleyn Girl
    Forced to compete for kingly favors, the women were soon rivals, a contest that, in its few meagerly entertaining moments, recalls the sisterly love in “What Ever Happened to Baby Jane?”
  4. College Road Trip
    Eyes popping and mouths agape, Martin Lawrence and Raven-Symoné mug their way through College Road Trip as if it were a silent movie -- which, come to think of it, would have been a lot less irritating.
    • 51 Metascore
    • 40 Critic Score
    Doomsday
    In terms of story, “The Descent” and Doomsday are as different as two genre films can be, but the falloff in artistic quality is still quantifiable. Where “The Descent” was a slow, quiet, exquisitely modulated, startlingly original film, Doomsday is frenetic, loud, wildly imprecise and so derivative that it doesn’t so much seem to reference its antecedents as try on their famous images like a child playing dress-up. Homage without innovation isn’t homage, it’s karaoke.
  6. Sleepwalking
    As Mr. Maher, in his feature directing debut, brings in surreal touches and puts on literary airs, the film’s grip loosens, and its vernacular turns increasingly wooden.
    • 41 Metascore
    • 40 Critic Score
    Drillbit Taylor
    So ploddingly directed (by Steven Brill) and lazily written that it adds up to little more than a diffuse collection of second-hand gags and jokes, few of them funny.
  8. Under the Same Moon (La misma luna)
    This is screenwriting by numbers. Unlike, say, Ken Loach’s marvelous “Bread and Roses,” Under the Same Moon is too busy sanctifying its protagonists and prodding our tear ducts to say anything remotely novel about immigration policies or their helpless victims.
  9. Shutter
    The director, Masayuki Ochiai, conjures textbook J-horror miasma: clammy clinical interiors; overcast skies; diffuse cityscapes. He also gives Alfred Hitchcock a nod, with a sequence nakedly stolen from “Psycho,” and draws unease from Jane’s disorientation in a foreign city. Tokyo, in fact, may be the movie’s most fascinating player.
  10. 21
    Greed is good and comes without a hint of conscience in 21, a feature-length bore about some smarty-pants who take Vegas for a ride.
    • 32 Metascore
    • 40 Critic Score
    Chapter 27
    Except for Judah Friedlander’s earthy, funny work as a paparazzo, most of the performances are vague and dull, including Lindsay Lohan’s supporting turn as a fictional Beatles fan who befriends Mr. Chapman.
    • 44 Metascore
    • 40 Critic Score
    The Ruins
    More disgusting than scary, The Ruins is the latest in a long line of horror films about upper-middle-class travelers being terrorized in unfamiliar environments.
  13. The Life Before Her Eyes
    Tidy, predictable, excruciatingly fussy in its details and lacking the tiniest glimmer of humor, The Life Before Her Eyes contradicts the director’s claim in the production notes that the movie “is not a perfectly ordered experience with clear causes and effects.”
  14. Chaos Theory
    A predictable romantic dramedy that isn’t particularly tender, moving or amusing, Chaos Theory suffers first and foremost from featuring the least engaging couple to headline a movie in some time.
  15. The Fall
    A genuine labor of love -- and a real bore.
  16. Noise
    The movie, whose cacophonous soundtrack, when turned up, conjures your worst nightmare of sirens, car alarms, jackhammers and sundry aural assaults, is a one-trick film that rapidly wears out its welcome.
  17. Savage Grace
    Proust might have known what to do with the Baekelands, but Mr. Kalin and Mr. Rodman don't make much more of them than the mess they apparently already were.
  18. The X Files: I Want to Believe
    Baggy, draggy, oddly timed and strangely off the mark, The X-Files: I Want to Believe is the generally bad-news follow-up to the show’s first feature-film incarnation, "The X-Files."
  19. Step Brothers
    They're losers that only a mother, an entertainment manager or a gang of self-satisfied comedy insiders could love.
  20. A Very British Gangster
    Plays less like a documentary than an E! exposé of lowlife skulduggery.
  21. Baghead
    The semi-improvised performances, which seem so natural that it is tempting to confuse the actors with their characters, bring Baghead into the realm of group therapy observed through one-way glass.
  22. Brideshead Revisited
    Mr. Goode shows all the charisma of a stalk of boiled asparagus molded into the likeness of Jeremy Irons.
  23. No Regret
    It is perverse that a movie concerned with objectification would reduce its hero to an object.
  24. Beautiful Losers
    Though Mr. Rose can't be blamed for waxing nostalgic, he can't much expect us to care about so fawning and self-serving a document.
  25. The Spirit
    What is most striking about The Spirit is how little pleasure it affords, in spite of its efforts to by sly, sexy, heartfelt and clever all at once.
  26. Righteous Kill
    A clutter of recycled cop-movie and serial-killer film clichés.
  27. Virtual JFK: Vietnam If Kennedy Had Lived
    Directed by Koji Masutani, this speculative, provocative, frustrating and finally unpersuasive historical gloss races quickly and all too lightly over the major political crises that John F. Kennedy faced during his aborted presidency.
  28. The Duchess
    An overstuffed, intellectually underbaked portrait of a poor little rich girl.
  29. Hounddog
    Hounddog is never more than a sluggish dawdle from shack to swimmin' hole and back again.
  30. Igor
    An animated twist on the Frankenstein story that never sparks to life.
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