The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. Dirty
    A facile exercise in nihilism posing as an indie "Training Day" with street cred. Don't believe it.
  2. Larry the Cable Guy: Health Inspector
    Unpleasant, uncouth and painfully unfunny..
  3. Revoloution
    Not even a grumpy cameo by Burt Young and some lovely shots of the Brooklyn Bridge can save a movie as punch-drunk as its benighted protagonist.
  4. Psychopathia Sexualis
    Whether in the whorehouse or the sanitarium, Psychopathia Sexualis is an exercise in unrelenting dullness.
  5. Land of the Blind
    Mr. Edwards, who wrote and directed Land of the Blind (it's his debut film), might counter that the movie is a Brechtian comedy that's not supposed to make literal sense: the big picture is what matters. But the big picture is a mess.
  6. Little Man
    Somewhere within all the crude slapstick and crass stereotypes, Little Man operates as a vulgar burlesque on the crisis of African-American manhood, particularly the relationships, or lack thereof, between fathers and sons.
  7. Beer League
    Comes close to being that rare film that is perfectly bad -- i.e., that has not a shred of social, entertainment or even curiosity value. But it misses out on this dubious honor by having one tiny redeeming attribute: it answers the question "Whatever happened to Edgar Stiles?"
  8. Tideland
    The worst that can be said of the first two-thirds of Tideland is that it is tiresome. Toward the end it becomes creepy, and not in a good way.
  9. Turistas
    A grubby, lethally dull bid to cash in on the new extreme horror, the film turns on a conceit as frayed as Freddy Krueger’s shtick.
  10. Black Christmas
    With a peephole-riddled set and a flashback-heavy screenplay, Black Christmas smothers terror beneath a blanket of unnecessary information, revealing too much and teasing too little.
  11. The Situation
    Exploitation cinema of the most narcoleptic kind.
  12. Pathfinder
    The director, Marcus Nispel, takes his butchery very seriously. (He was the lead vivisectionist for the remake of "The Texas Chain Saw Massacre.") He may not be able to make this movie move, but, man, can he make an eyeball fly.
  13. Slow Burn
    A wooden police thriller that is as dull as it is impenetrable and ultimately beyond ludicrous.
  14. The Condemned
    Tailor-made for those who like their violence multifaceted and their women monosyllabic.
  15. Skinwalkers
    Yawningly directed by Jim Isaac, Skinwalkers is a slavering mess that buries its clunky addiction metaphor beneath a welter of genre clichés, all delivered in extra-slow motion.
  16. Reservation Road
    This is one of those sadistic exercises that puts its characters through the wringer without saying anything true or meaningful.
  17. In the Name of the King: A Dungeon Siege Tale
    An awkward “Lord of the Rings” knockoff, it features both elaborate battles and bumbling humor, though it’s never quite clear when you should be laughing.
  18. Meet the Spartans
    Overkill is what Jason Friedberg and Aaron Seltzer do best: as the uncontested titans of the parody genre (with fingers in everything from the “Scary Movie” franchise to the more recent “Epic Movie”) they continue to prove that ridiculing other movies is much easier than making your own.
  19. Untraceable
    You may view Untraceable, as I do, as a repugnant example of the voyeurism it pretends to condemn.
    • 12 Metascore
    • 20 Critic Score
    Strange Wilderness
    What rankles isn’t the gross-out humor or the verbal non sequiturs, which are expected, even welcome, in this sort of movie. It’s the smug sense of entitlement -- that of intoxicated dweebs tittering endlessly and obnoxiously at their own supposed cleverness. “Harold and Kumar Go to White Castle” is the gold standard in this genre. Strange Wilderness is a counterfeit bill.
  21. Prom Night
    The movie offers less gore than the average Band-Aid commercial and fewer scares than the elimination episodes of "Dancing With the Stars."
  22. Holding Trevor
    This portrait of 20-something gay men and their straight friends is a joyless exploration of middle-class deadbeats (with the exception of Ephram) lost in a torpid funk of low self-regard. Because they’'e not rich, there is no sleazy zing of "Less Than Zero"-worthy glamor.
  23. Disaster Movie
    Does little more than congratulate its audience on recognizing the source of its riffs. "High School Musical" -- ha ha ha!
  24. Forever Strong
    A mawkish drama hobbled by a thoroughly unpleasant and uncharismatic lead performance.
  25. Nobel Son
    An aggressively noisy exercise in style over substance about nasty people doing nasty things to one another in (sigh) Southern California.
  26. Punisher: War Zone
    Does it have to be so witless, so stupid, so openly contemptuous of the very audience it’s supposed to be pandering to?
  27. Lake City
    Feels like a movie whose story was slapped together during filming. Its three phases -- Southern pastorale, Sudsville and Kablooie -- don’t really connect.
  28. Good
    In Good, the anemic screen adaptation of C. P. Taylor's play about a respectable "good German" who passively acquiesces to Hitler's agenda, Viggo Mortensen, miscast and ineptly directed by Vicente Amorim, plays John Halder, a liberal, mild-mannered literature professor who becomes a Nazi.
  29. The Lodger
    Prostitutes are not the only things butchered in The Lodger, a spooky story ruined by lumpen dialogue, cloddish performances and a director and writer (David Ondaatje) oblivious to both.
  30. The Ugly Truth
    A cynical, clumsy, aptly titled attempt to cross the female-oriented romantic comedy with the male-oriented gross-out comedy that is interesting on several levels, none having to do with cinema.
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