The New York Times' Scores

Select another publication »
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
view
per page
  1. Lost Souls
    It's the central story that's lacking.
  2. Trixie
    Despite its occasional flashes of brilliance (every Rudolph film has them), this unsavory stew never comes to a boil.
  3. The Body
    If the film were a fight, they'd have stopped it.
  4. 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.
  5. The Weekend
    You have to admire the effort its attractive cast expends pumping life into stilted, flowery dialogue that confuses pretentious attitudinizing with profound insight.
  6. Bad Company
    Like many of the nonpolitical terrorist-as-villain spectaculars that have been held back after Sept. 11, has the whiff of something gone stale. Though it may have sat on the shelf for a while, this project had gone bad long before it was released.
  7. 20 Dates
    It must be said that Berkowitz's shamelessness and persistence aren't inevitably irresistible.
  8. Play It to the Bone
    Are they fools or heroes? Because the movie can't decide, neither can we. And without an emotional payoff, Play It to the Bone ends up stranded in serio-comic limbo.
  9. Knockaround Guys
    When it comes to father, sons and mob life, stick to "The Godfather."
  10. Original Sin
    Everything in this film is forgettable, right down to bongos pounding on the soundtrack to indicate a quickening of the pulse.
  11. Wannabes
    Doesn't really know how to end. But if its melodramatic final moments are ludicrous, they don't seriously dilute the acidity of the sour little swatch of urban sociology that has come before.
  12. Half Past Dead
    After several scenes of this tacky nonsense, you'll be wistful for the testosterone-charged wizardry of Jerry Bruckheimer productions, especially because Half Past Dead is like "The Rock" on a Wal-Mart budget. And the marked-down price tags are incredibly visible.
  13. Stardom
    Stardom makes its metaphor of 15 minutes seem like a lifetime.
  14. Supernova
    Light on originality and low on suspense though high on design and special effects.
  15. Rollerball
    The current version, however, like its predecessor, fails as entertainment. Mr. McTiernan's remake may be lighter on its feet -- the sober-minded original was as graceful as a tap-dancing rhino -- but it is just as boring and as obvious.
  16. The Fantasticks
    The movie version overflows with affection and good intention, but unwittingly turns a bauble of cheerful fakery into something that mostly feels phony.
  17. Highlander: Endgame
    The action is the best thing in the picture.
    • 34 Metascore
    • 20 Critic Score
    Snow Day
    Fails both as arrested-development farce and as teen-age romantic comedy.
  19. Two Ninas
    In this elongated, formula-ridden sitcom posing as a movie, the date-weary Manhattan singles exchanging acerbic banter suggest the tougher, far less intellectual offspring of Woody Allen characters drenched in a whiny Seinfeldian dyspepsia.
  20. Love in the Time of Money
    A listless and desultory affair.
  21. Collateral Damage
    Manages to squeeze in several different endings — like a bad pop song that doesn't know when to fade out. But as Mr. Schwarzenegger's stature as an action figure diminishes, his effort to retain a piece of the market is touching.
  22. Domestic Disturbance
    Jettisoning any ambition toward thrillerhood, Domestic Disturbance becomes a plodding, obvious angry-dad melodrama, ambling toward the final, fatal showdown between parent and usurper.
  23. Full Frontal
    The aesthetic of Full Frontal is as rough and grainy as the off-the-rack digital video in which much of it was shot.
  24. Alex & Emma
    There's so little chemistry between Mr. Wilson and Ms. Hudson that you begin to look back on what now seems like the halcyon time of "How to Lose a Guy in 10 Days."
  25. Willard
    The worst flaw of Willard is a clunky tone-deaf screenplay based on Gilbert Ralston's original and updated by the director. Barely a line flies by that doesn't land with a wooden thud.
  26. Vampire's Kiss
    The film is dominated and destroyed by Mr. Cage's chaotic, self-indulgent performance. He gives Peter the kind of sporadic, exaggerated mannerisms that should never live outside of acting-class exercises.
  27. Haiku Tunnel
    Can a feature-length movie be built on minutiae like jammed copying machines, unsent business letters and orientation programs for new employees? This innocuous wisp of a film, as weighty as a scrap of fax paper caught in an updraft, suggests that the answer is no.
  28. Idle Hands
    Even pretensions toward the humorous and hip cannot save this blood-drenched film from its innate tastelessness.
  29. The Order
    A murky ecclesiastical horror film, may be the nadir of the subgenre that produced "The Exorcist" (at its high end) and "Stigmata" (at its middle-to-low end).
  30. The Glass House
    The Glass House is hardly insane, just absurd, and the only damage it does is to itself.
Page:

Top Trailers

See all »
See all trailers »