The New York Times' Scores

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For 20,313 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: 9,401 out of 20313
  2. Mixed: 8,446 out of 20313
  3. Negative: 2,466 out of 20313
20313 movie reviews
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  1. Splinter
    A diverting if not terribly original on-the-cheap horror film.
  2. Zack and Miri Make a Porno
    In spite of its sometimes tiresome, sometimes amusing lewdness, follows a gee-whiz romantic-comedy formula that would not be out of place on the Disney Channel.
  3. My Name Is Bruce
    Filled with awful, recycled jokes.
  4. The Matador
    Barbaric, elegant, primitive, erotic, revolting, thrilling: the movie, like bullfighting itself, is all of these.
  5. What Just Happened
    The lampooning is sometimes funny and occasionally offers up a tidbit of small truth. But much of it is awfully familiar.
  6. The First Basket
    The First Basket, a functional (if narrowly interesting) history lesson by the filmmaker David Vyorst, recollects the rich history of Jewish participation in basketball.
  7. Let the Right One In
    There is a remarkable stillness to many of the film's most indelible images, particularly the exteriors, which are so carefully photographed, and without the usual tiresome camera jiggling, as to look almost frozen.
  8. Synecdoche, New York
    To say that Charlie Kaufman's Synecdoche, New York is one of the best films of the year or even one closest to my heart is such a pathetic response to its soaring ambition that I might as well pack it in right now.
  9. Changeling
    The truth about the case of Christine Collins is so shocking and dramatic that embellishment must have seemed pointless, but in sticking so close to the historical record, Mr. Straczynski and Mr. Eastwood have produced a distended, awkward narrative whose strongest themes are lost in the murky pomp of period detail.
  10. I've Loved You So Long
    A revelation comes near the end that is both tremendously moving and a bit disappointing, in the way that the solutions to great mysteries frequently are. This turn does not diminish the accomplishment of Ms. Scott Thomas's deep, subtle and altogether stunning performance, but it does alter the scale of the movie, turning it into a more manageable, less existentially unsettling drama.
  11. Passengers
    A supernatural thriller so mechanically inept and lacking in suspense that it doesn't even pass muster as lowbrow Halloween-ready entertainment.
  12. Saw V
    Skips back and forth in time, trying to piece together who did what, when and why. The only question really worth asking here: Who cares?
  13. Pride and Glory
    Not especially good, but there is enough rough artistry in Mr. O’Connor’s direction to make you wish the film were better.
  14. High School Musical 3: Senior Year
    A candy-colored never-never land that Peter Pan might envy.
  15. Johnny Got His Gun
    As his character battles to grasp his newly fractured sense of time, audiences may also find themselves more aware of the time, which seems to creep along at an alarmingly slow rate.
  16. Roadside Romeo
    Perhaps Bollywood’s most ingratiating quality is how hard the actors work to entertain you: they dance, they cry, they risk appearing silly. The animated dogs in "Romeo" aren't particularly appealing.
  17. The Universe of Keith Haring
    A loving if routine primer on this bright young man.
  18. Fear(s) of the Dark
    Shot in luminous whites, pulsing blacks and gorgeous grays, the stories explore sexual insecurity, rural superstition and sociopolitical anxieties with an inventiveness that's seldom scary but never less than mesmerizing.
  19. Stranded: I've Come from a Plane That Crashed on the Mountains
    Gonzalo Arijón’s documentary offers an incontrovertible argument for the necessity of team spirit in the face of catastrophe.
  20. W.
    The pleasure of Mr. Stone's work has never been located in restraint but in excess, a commitment to extremes that can drown out the world or, as in this film, give it newly vivid, hilarious and horrible form.
  21. The Elephant King
    Tells a colorful if conventional tale of dysfunctional Americans abroad. The misadventures of Jake and Oliver play off against the conflicted sympathies of the locals, who simultaneously resent, enjoy, prosper from and exploit the tourist scene.
  22. Filth and Wisdom
    Not that Madonna has gone in for originality, which isn't really her thing: rather, instead of repurposing a genre, she has riffled through the art-house catalog for inspiration, as evidenced by the film's intentionally grubby visual texture, jumpy editing, direct-address commentary, freeze frames and other tricks.
  23. Max Payne
    Max’s righteous anger finds various allies and targets, though it is not always clear who is which. They are played by Mila Kunis, Beau Bridges and Ludacris with just enough panache and expressiveness to uphold the (increasingly irrelevant) distinction between a movie and a video game.
  24. Morning Light
    Like the disastrously overpopulated "Amazing Race: Family Edition," Morning Light never finds a way to make us care who wins.
  25. The Secret Life of Bees
    The film insists so strenuously on its themes of redemption, tolerance, love and healing that it winds up defeating itself, and robbing Ms. Kidd’s already maudlin tale of its melodramatic heat.
  26. Sex Drive
    The sweetheart leads, Josh Zuckerman and Amanda Crew, are easy to spend time with, and Seth Green as an Amish hipster and Clark Duke as an unlikely lady-killer hit every sweet-and-sardonic note with panache.
  27. Mary
    A convoluted, hysterical mess of a movie with grandiose spiritual airs and not a drop of humor.
  28. Frontrunners
    Polite, detached documentary in which there are no highs or lows. Politically and emotionally, the movie's thermostat remains at medium cool.
  29. Body of Lies
    As it is, the movie is a hodgepodge of borrowings and half-cooked ideas, flung together into a feverishly edited jet-setting exercise in purposeless intensity.
  30. Breakfast with Scot
    For its courage to address a ticklish subject with warmhearted humor, Breakfast With Scot, adapted from a novel by Michael Downing, deserves a light round of applause.
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