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. The Closet
    Veber's giddy social comedy The Closet finds more delicious, chortling fun in the spectacle of obsequious hypocrisy than any movie I've seen in ages.
  2. Pandaemonium
    Literate and handsome.
  3. Adanggaman
    The narrative motion is tricky; first it canters, then shifts into a heady, quick gallop. What's most fascinating about Adanggaman are the scenes that feel like anecdotal rest stops but that are actually building into a nuanced and engrossing whole.
  4. Chutney Popcorn
    Because Chutney Popcorn knows its characters deeply enough to let them determine events, it rises above formula. It is also unusually well acted.
  5. Happenstance
    Perhaps it's all a bit too much, and perhaps it doesn't add up, but the loose ends give the picture a jaunty, improvised feeling that, while it leads to some confusion, is ultimately part of its whimsical charm.
    • 60 Metascore
    • 80 Critic Score
    Otomo
    A bleak and powerful work, one we probably need more than ever these days.
  7. Me & Isaac Newton
    Despite its ultimate lack of intellectual substance, Me and Isaac Newton is still inspiring. All seven of its subjects are fascinating, and most are extremely likable. Mr. Apted has done them all a huge favor.
  8. The Son's Room
    The movie's rejection of even a tinge of melodrama lends it a special integrity.
  9. Shot in the Heart
    The director, Agnieszka Holland, and the screenwriter, Frank Pugliese, have created a scenario that unflinchingly captures the feverish and desperate intensity of Mikal's quest.
  10. Sade
    In its quiet, literate way, the film is almost as subversive as its central character.
  11. CQ
    May not make the splash it should; films about moviemaking rarely do. And that would be a shame, because the contrasts the director sets in motion and keeps playing against each other make an entertaining wrestling match.
  12. Elling
    Elling believes so fervently in humanity that it feels almost anachronistic, and it is too cute by half. But arriving at a particularly dark moment in history, it offers flickering reminders of the ties that bind us.
  13. Theeviravaathi: The Terrorist
    Sivan has accomplished something extraordinary: he has given political extremism a human face.
  14. Boiler Room
    Reflects the sensibility of the generation it holds up to critical scrutiny, and it's a cunningly ambiguous act of self-portraiture.
  15. La bûche
    It unfolds with the verve and clarity of a piece of music, carefully composed and passionately played.
  16. Lucie Aubrac
    Stirringly romantic...a gripping period thriller that clicks along without resorting to hyped-up shock effects or gimmicky suspense.
  17. Born Romantic
    In its own modest, genial terms, the picture succeeds: it never wants to be more than charming and sweet, and it invites us to imagine London as a cozy, happy small town where coincidental encounters are everyday occurrences.
  18. Spring Forward
    Two very fine actors, Ned Beatty and Liev Schreiber, engaged in an intense contest to see who can give the more understated performance.
  19. The Big Carnival
    Ace in the Hole is an acquired taste -- and an unforgettable one.
  20. Laurel Canyon
    Reconfirms the filmmaker's talent as an acutely observant chronicler of upscale bohemian subcultures.
  21. Est - Ouest
    Wargnier's sumptuous, moving new film, captures both the hope of the returning Russians and their brutal betrayal.
  22. Stuart Little 2
    What sets the "Stuart Little" franchise above most of the competition is its emphasis on sharply drawn character and its profusion of witty remarks (mostly from the mouth of Snowbell) that are cutting enough to amuse grown-ups without sailing over children's heads.
  23. Amores Perros
    A film in which nothing is what it seems, this is the kind of genre touch that Mr. González Iñárritu expands into something far more haunting.
  24. Brotherhood of the Wolf
    The picture has a daring attention-span deficit and an epic silliness that can be awesomely entertaining.
  25. L.I.E.
    At its best, L.I.E. offers a rich, dark, bitter slice of contemporary life. But the film's arty embellishments undermine its bleak vision, making it, in the end, a little too easy to take.
  26. Chaos
    There is not a decent (or even half-decent) male character to be found in Chaos, a gripping feminist fable with a savage comic edge.
  27. Merci Pour Le Chocolat
    Mr. Chabrol's droll assault on petit-bourgeois security feels like a satire of "Ordinary People" directed by Alfred Hitchcock.
  28. Power Trip
    A skillful assemblage of newsreel clips, cartoons ridiculing the American interlopers, television commercials and interviews with power officials and ordinary Georgians. It gives new and darker meaning to that comfy adage "We're all connected."
  29. Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.
    Morris, instead of evoking the solemnity that surrounds most films that touch on the Holocaust, has directed Mr. Death as the blackest of comedies.
  30. Dr T and the Women
    The movie's sexual politics are as contrived as its plot, which veers off into one of the surprise endings of which Mr. Altman is so fond.
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