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. The Bulls' Night Out
    The movie doesn't turn out to be as benignly right-wing as it initially suggests, though the plot turns can be spotted a mile away.
  2. The End of the Road
    So disorganized that it seems to be pulling its conclusions out of its pockets, along with scraps of paper, matches, lint and half-forgotten junk.
  3. Last Party 2000
    Starts to seem less like a political documentary than a one-sided "Battle of the Network Stars," with the younger generation clearly winning the charisma challenge.
  4. Trouble Every Day
    Ultimately seems naïve. In developing the comparison of sex and cannibalism, it never goes beyond the standard Draculian symbol of blood to include other bodily substances.
  5. One
    The film's spareness and lack of words seem affected and ultimately unrealistic. At such moments, its refusal to put things into words and its crushing sense of gloom turn self-defeating.
  6. Wake
    Instantly forgettable film.
  7. A Thousand Peace Clouds Encircle the Sky
    A bleak, static mood piece about adolescent emptiness. There's little dialogue, and what there is offers the scantest information about Gerardo, who, as played by Mr. Ortuño, conveys an impenetrable blank-faced melancholy.
  8. Confessions of a Burning Man
    Too lazy and too loosely structured to accomplish much besides conveying some vivid physical impressions. There is no narrator, and the structure that exists is clouded by the new-age mumbo-jumbo of eight principal commentators.
  9. Planet Earth: Dreams
    Isn't very successful at evoking the dream state, but does a good job of inducing it.
  10. Boricua's Bond
    Suffers from a fatal lack of modulation. It paints a picture of inner-city life as an endless sequence of beatings and shouting matches, and in its glum cartoonishness insults the people whose strivings it means to honor.
  11. Nola
    A movie that pits a substantial actor like Mary McDonnell, playing a New York madam, against a bogus story that crossbreeds noirish affectations and romantic comedy into an unpalatable mush that suggests strawberry ice cream slathered with beer.
  12. Proteus
    Tricked up with an elaborate flashback structure, subtitled dialogue in three languages and as many gratuitous aesthetic touches as the traffic will bear, Proteus emerges as a heavy, pretentious and derivative film.
  13. September Tapes
    Maybe Mr. Johnston, who has directed television commercials and music videos, intended this to be a guessing game. But the method robs the real encounters of their power and, even more important, trivializes the subject.
  14. 10 on Ten
    A tediously didactic, often condescendingly reductive 10-part lesson on cinema.
  15. A Man's Gotta Do
    Really, it's all as funny as a hernia.
  16. The Keeper: The Legend of Omar Khayyam
    That "The Keeper" was made by a novice is evident in the visible seams between the present-day narrative and the flashbacks; the whole thing plays like a loopy amalgam of stilted costume picture and after-school special.
  17. The Oil Factor: Behind the War on Terror
    Most of this is old news. And the filmmakers never make a coherent case, at least not to the layperson. As a result, the film, which runs about 90 minutes, seems painfully long.
  18. Into the Fire
    Even if it ends on a hopeful note, this is a feel-bad movie that leaves a bitter aftertaste.
  19. Loudmouth Soup
    For all its experimental intentions, Loudmouth Soup feels familiar: a claustrophobic Hollywood satire that's short on kinesis and long on conversation.
  20. Trapped by the Mormons
    This kind of thing might tickle a drunk, way off Broadway audience, but on screen it merely shows the futility of following in the faux-silent footsteps of the director Guy Maddin.
  21. The Tollbooth
    Written and directed with overwhelming earnestness by Debra Kirschner, The Tollbooth can't overcome Sarabeth's self-involved narration and insipid personality.
  22. Beyond Honor
    Amateur acting, a wobbly script and a hard-to-swallow finale round out the film, which will, sadly, invoke ridicule in place of shock and anguish.
  23. In Her Line of Fire
    In Her Line of Fire -- produced to be shown on the gay cable network Here! -- flaunts its Sapphic subplot (all five minutes of it) like a pesky contractual obligation, and otherwise plays like straight-to-video gun pornography from the heyday of Chuck Norris.
  24. Autumn
    As they scheme to secure a mysterious silver briefcase, secrets are revealed, agendas come to light and not a single plausible line of dialogue is uttered.
  25. Guernsey
    Of all the modes of modern alienation, there is none so persistent and arbitrary as finding oneself trapped in a glacially paced European art film.
  26. The Magic Gloves
    A limp urban comedy not nearly as whimsical as its title.
  27. Arthur and the Invisibles
    The computer-generated world is visually rich, but short on the droll humor that makes good children's films bearable for adults.
  28. From Other Worlds
    A limp sci-fi comedy with fewer laughs than a meeting of Abductees Anonymous.
  29. Duck
    The quirky characters they meet aren't quirky enough, and the political points Ms. Bettauer sprinkles into her script thud awkwardly.
  30. Downtown: A Street Tale
    Rehashing characters and plots from the "Law & Order" playbook, the director, Rafal Zielinski, supplements his material with religious iconography and more gauzy close-ups than a Barbra Streisand marathon.
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