The New York Times' Scores

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For 20,311 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: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
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  1. All the King's Men
    Nothing in the picture works. It is both overwrought and tedious, its complicated narrative bogging down in lyrical voiceover, long flashbacks and endless expository conversations between people speaking radically incompatible accents.
  2. School for Scoundrels
    Billy Bob Thornton's leer is much in evidence in the shoddy comedy School for Scoundrels, though the tackiness of the film, its lazy direction and its self-satisfied stupidity may mean that Mr. Thornton curled his lip about the production rather than for it.
  3. El Cortez
    The script, by Chris Haddock, leaves numerous questions unanswered. It also reflects the character depth and conversational complexity of a 14-year-old’s first effort at fiction.
  4. One-Third
    When it finally seems likely to happen, the film crashes to a sudden and unsatisfying conclusion. But this is the first part of a projected trilogy and, assuming these characters’ lives -- or deaths -- will be further explored, it’s really just the beginning.
  5. Kettle of Fish
    Premised entirely on nonsense.
  6. Cocaine Cowboys
    Cocaine Cowboys is a tabloid headline, a movie as oppressive and inarticulate as the lives it represents.
  7. The Santa Clause 3: The Escape Clause
    One of the good things about bad movies is that when someone sneers about the unworthiness of a perfectly mediocre film like, say, "Crash," you can turn to a seriously unworthy film like, say, The Santa Clause 3: The Escape Clause and laugh. Ho. Ho. Ho.
  8. Color of the Cross
    Though the film's final, disturbing image forces race to the forefront and belatedly raises wider issues of persecution, its most controversial suggestion is not that Jesus might have been black but that he might have been a really terrible actor.
  9. Eating Out 2: Sloppy Seconds
    A Rubik’s Cube of shifting sexual orientation and elaborate sex fantasies, “Sloppy Seconds” gathers all the accouterments of soft pornography -- cheesy music, low-rent acting and attractively framed genitals -- into a plot of stunning imbecility.
  10. Van Wilder 2: The Rise of Taj
    National Lampoon’s Van Wilder 2: The Rise of Taj harnesses smut and silliness to an oddly innocent tale of true love.
  11. We Are Marshall
    A movie like We Are Marshall stands or falls on its ability to make you feel the pain and loss of individuals in a place where community pride and football are one and the same. As the film, directed by McG (the "Charlie's Angels" movies) from a wooden screenplay by Jamie Linden, follows a handful of Huntington residents during the months after the accident, not one of them comes fully to life.
  12. The Dead Girl
    Just when it seems as though the language of insult and humiliation couldn’t get any nastier, the movie escalates the barrage.
  13. Factory Girl
    The kindest thing to be said about this deluxe photo spread of a film is that Sienna Miller's Edie and Guy Pearce's Andy capture their characters' images and body language with relative precision.
    • 28 Metascore
    • 30 Critic Score
    Happily N'Ever After
    This is another tired kidsploitation product.
    • 28 Metascore
    • 30 Critic Score
    The Hitcher
    The movie genuflects toward pop depth in a scene where Grace sprawls on a motel bed watching Alfred Hitchcock’s "Birds," another thriller about implacable, undefined evil, but there’s a difference between refusing to give viewers the answers and having nothing to say. For all its death-metal vigor, The Hitcher falls into the latter camp.
  16. Fired!
    Feels like a desperate attempt to stretch a flimsy half-hour made-for-cable concept into a feature film.
  17. Ghost Rider
    This dissociation leaves the supporting cast to its own devices, with no one suffering more than the appealing Eva Mendes as Johnny's true love, Roxanne. If Ms. Mendes ever finds a director willing to allow her to perform with her shirts fully buttoned, there will be no stopping her.
    • 34 Metascore
    • 30 Critic Score
    Dead Silence
    The director, James Wan, and the writer, Leigh Whannell (the team behind the controversially brutal "Saw" series), deliver the mandatory shocks and gross-outs, backed by dissonant bursts of music and made almost elegant by the cinematographer John R. Leonetti's desaturated images.
  19. Premonition
    The sloppy, absent-minded Premonition is a giant step backward for Ms. Bullock.
  20. Perfect Stranger
    The director, as he showed in movies like "After Dark, My Sweet," and "Fear," specializes in conjuring conspiratorial atmospheres in which anxiety and sexual menace hang in the air like a heavy, bitter perfume. Long after you've dismissed the movie's ridiculous, convoluted story, traces of that scent may linger.
  21. Vacancy
    This banal horror retread involves a couple of critters flailing inside a sticky trap for what is, in effect, the big-screen equivalent of a roach motel.
  22. Delta Farce
    Perhaps the people most insulted are white Southerners, who presumably are expected to embrace one whopping brain-dead metaphor.
  23. The Salon
    A tiresome blend of overacting and underwriting, The Salon moves from one predictable conversation to another -- the lack of available black men, the wondrousness of Bill Clinton -- without originality or comic rhythm.
  24. Even Money
    A scare movie about gambling addiction, is as grim and lurid as any in the recent spate of films about the evils of crystal meth.
  25. I'm Reed Fish
    Sweetness and whimsy fill the screen to capacity in I'm Reed Fish, a rural coming-of-age tale that's so laid-back that its cast is almost horizontal.
  26. Hostel: Part II
    Mr. Roth, part of a new breed of horror directors affectionately labeled the "Splat Pack," is regarded by some as a savior of the genre, though it could be argued that he is more effectively a saboteur. He might have mastered the cheap sadism-as-entertainment gross-out, but he has yet to produce a single genuine, old-fashioned fright.
  27. Fantastic Four: Rise of the Silver Surfer
    This existentially and aesthetically unnecessary sequel to the equally irrelevant if depressingly successful "Fantastic Four."
  28. Evening
    Doesn’t seem as if it would translate easily to the big screen. It hasn't.
  29. Who's Your Caddy?
    There’s probably more wit and pointed social commentary in the average four-minute OutKast song than in the entirety of Who’s Your Caddy?
  30. Bratz
    Arriving as inevitably as puberty, Bratz introduces the swollen-headed, fashion-addicted dolls of the title to a live-action movie.
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