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. French Lover
    It’s an open question as to whom the film insults the most: the principals (Marion gullibly believes that Abel does his own stunts; Abel is so spoiled he can’t perform basic household tasks); the public (depicted as clamoring for brainless celebrity gossip); or you, the viewer, from whom so little has been demanded.
  2. The Dreadful
    The knight might represent the contagion of human evil, and Anne’s story a journey of proto-feminism, but for all its big themes, the most resonant is the film’s title.
  3. Worldbreaker
    Directed by Brad Anderson, Worldbreaker is committed above all to shortchanging its themes, along with excitement and visual interest, a showy Steadicam shot notwithstanding.
  4. Psycho Killer
    When it comes to this Dumpster’s worth of horror nothingness, that’s the inescapable question, translated into English: What is it?
  5. Leap Year
    What makes Leap Year so singularly dispiriting is precisely that it is bad without distinction -- so witless, charmless and unimaginative that it can be described as a movie only in a strictly technical sense.
  6. The Idiots
    Has nothing on its mind besides the squirming discomfort of its audience, the achievement of which it holds up as a brave political accomplishment.
  7. Couples Retreat
    An R-rated version of this mess would be only more gratingly dishonest as it tried to hide its weak sentimentality behind a fig leaf of vulgarity.
  8. Everybody's Fine
    The queasiness produced by this sentimental weepie builds into a wave of nausea during its interminable finale.
  9. G.I. Joe: The Rise of Cobra
    This pricey, juiceless pulp could never have been killed by critics, simply because it was already dead.
  10. Bride & Prejudice
    As high concept and rife with cliché as anything ever churned out by Hollywood, but with worse production values and a load of sanctimonious political correctness.
  11. Son of the Mask
    An irredeemable mess, a computer-animated Punch and Judy show without wit, heart or a single memorable performance.
  12. Hostage
    More than sad, it's slightly sickening to consider the technology, talent and know-how squandered on Hostage, a pile of blood-soaked toxic waste dumped onto the screen in an attempt to salvage Bruce Willis's fading career as an action hero.
  13. Modigliani
    The best and maybe the only use to be made of the catastrophic screen biography Modigliani is to serve as a textbook outline of how not to film the life of a legendary artist.
  14. The Perfect Man
    The range of Ms. Locklear's lobotomized acting runs from mild irritation to mild melancholy, expressed without expression.
  15. Dear Wendy
    The story is laughably incoherent, which would be less bothersome if the movie were not also so unremittingly pretentious.
  16. Perception
    As the jaundiced, disjointed, drug-infested story heads toward its dismal conclusion, its reputable actors vainly struggle to infuse the goings-on with a deadpan psychotic zaniness. But even when viewed sideways, Perception is not funny; it's hardly anything at all.
  17. Freedomland
    An early candidate for worst film of the year is Freedomland, an inept, lethally dull drama.
  18. Basic Instinct 2
    A disaster of the highest or perhaps lowest order.
  19. Silent Hill
    From first frame to last, not a second of the film has a grip on reality. Structured around a series of blackouts and gross-outs, it is one long free fall through icky surrealism and underlighted nightmares. It takes us to the sort of world where hell is round the corner, secret doors abound and faux-blond policewomen outfit themselves in skin-tight leather.
  20. The Celestine Prophecy
    This delectable fusion of New Age babble and luridly bad filmmaking may not "open" you up, to borrow one of the film's favorite verbs, but it might leave your jaw slack and your belly sore from laughter.
  21. The Covenant
    That's the one with a car that explodes and gets put back together by magic, right? Yeah, that’s pretty much the coolest part.
  22. Sun Kissed
    When a movie aspires to be gay pornography but can't even manage that, well, you know you've got a bad movie.
  23. Smokin' Aces
    A Viagra suppository for compulsive action fetishists and a movie that may not only be dumb in itself, but also the cause of dumbness in others.
  24. Hannibal Rising
    Silly, slack and unforgivably tedious, Thomas Harris's screenplay is padded with interminable flashbacks and a bombastic score that telegraphs every emotion Hannibal represses. And there are a lot of them.
  25. Memory
    Memory is an inane, sluggish mess.
  26. License to Wed
    The only thing that kept me watching License to Wed until the end (apart from being paid to do so) was the faith, perhaps misplaced, that I will not see a worse movie this year.
  27. I Know Who Killed Me
    Pretentious and inane.
  28. What Happens in Vegas
    Because its director, Tom Vaughan, brings nothing of interest to the movie, including filmmaking, there isn't anything to say other than to note its insulting ugliness and ineptitude.
  29. Postal
    Infantile, irreverent and boorish to the max, Postal explodes with bad attitude and lousy filmmaking.
  30. Take
    Subjective or not, the movie is a bore and an eyesore.
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