The New York Times' Scores

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For 20,323 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: 9,408 out of 20323
  2. Mixed: 8,448 out of 20323
  3. Negative: 2,467 out of 20323
20323 movie reviews
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  1. I Don't Want to Sleep Alone
    Mr. Tsai's films are held together internally, and connected one to another, by an elusive, insistent logic that is easier to recognize than to describe. But once you do start to recognize it, each new movie offers passage to an exotic place that feels, uncannily, like home.
  2. Brand Upon the Brain!
    Delirious, ingenious, often very funny and strangely touching film.
  3. Away from Her
    I can't remember the last time the movies yielded up a love story so painful, so tender and so true.
  4. Spider-Man 3
    The bittersweet paradox of this franchise is that while the stories have grown progressively less interesting the special effects have improved tremendously, becoming at once more plausible -- when Spider-Man swings through the urban canyons he finally looks almost real -- and more spectacular.
  5. Lucky You
    Even though it is sometimes dull and generally thin, there is something winning about the movie's genial lack of ambition.
    • 48 Metascore
    • 50 Critic Score
    Civic Duty
    Initially promising, ultimately irritating psychological thriller.
    • 60 Metascore
    • 70 Critic Score
    L'iceberg
    Its simultaneously silly and grave tone finds humor in the characters' delusions and obsessions while celebrating their uniqueness.
  8. Paris, je t'aime
    A cinematic tasting menu consisting entirely of amuse-bouches. After two hours of such tidbits the palate is sated. But if there is no need for a main course, you still leave feeling vaguely disappointed at not being served one.
  9. The Treatment
    A movie with its heart and head in the right place. Too bad its aesthetic sensibilities and technical coordinates are not as well situated.
  10. Waitress
    Part feminist fable, part romantic fairy tale, it is by turns tart and sweet, charming and tough, rather like its heroine and like Keri Russell, the plucky, pretty, nimble actress who plays her.
  11. Missing Victor Pellerin
    An enigmatic and utterly compelling story of incinerated art, unbridled egos and exotic plants.
  12. Jindabyne
    The real flaw is that the movie's best features -- the aching clarity of its central performances -- threaten to be lost in a wilderness of metaphor and mystification.
  13. The Condemned
    Tailor-made for those who like their violence multifaceted and their women monosyllabic.
  14. The Invisible
    This latest recycling of foreign-grown frights shows less interest in horror than in healing.
  15. Kickin It Old Skool
    A romantic subplot is formulaic, and, most disappointing, the break-dance sequences don't sizzle, though the film's director, Harvey Glazer, is known for his music videos. Keep an eye out, however, for some nutty cameos.
  16. Next
    In Next, a crummy action and speculative-fiction hybrid, Nicolas Cage plays a guy who can see into the future two minutes at a time. It's too bad that Mr. Cage couldn't tap into those same powers of divination to save himself from making yet another inexplicably bad choice in roles.
  17. Snow Cake
    Like "I Am Sam," it is a film that tests your cynicism.
  18. Election
    By the end, Mr. To has proven himself to be a genre hack of uncommon intelligence and soul: a first-rate entertainer who can thrill you into thinking.
  19. Les amitiés maléfiques
    As a group portrait of apprentice intellectuals the film has an almost documentary accuracy. It also has a degree of energy, an appetite for strong feelings and big ideas, notably missing in American movies about the young and overeducated, which tend to specialize in mumbled ironies and tiny epiphanies.
  20. The Wedding Weekend
    Fortunately, there is Molly Shannon as the money manager's disgruntled wife, giving a selfless, robust performance. Bracingly astringent in an unlikable role, she almost turns a potential liability into the film's salvation.
  21. Wind Chill
    A moody, spooky tale, rendered with laudable economy.
  22. Diggers
    A quintessential American independent movie, Diggers isn't going to change the history of cinema. But it has integrity. It feels like life.
    • 59 Metascore
    • 50 Critic Score
    The Short Life of José Antonio Gutierrez
    Although Ms. Specogna's film fleshes out his life to the extent that it can -- leaning heavily on still photographs and interviewing loved ones, social workers and fellow Marines -- the portrait remains frustratingly incomplete.
  24. Disappearances
    The movie, though lovingly handmade by Mr. Craven, has a frustratingly disjunctive rhythm.
  25. Ta Ra Rum Pum
    May take place entirely in New York, but that doesn't stop it from being a classic example of Bollywood family values.
  26. Zoo
    Paradoxically, it is precisely because Mr. Devor refuses to acknowledge the murkiness that clings to every frame in his film, because he refuses to engage with the world beyond that of the zoophiles, that they seem like creatures from some never-ending night.
  27. Triad Election
    More elegantly plotted and streamlined than the first film.
  28. Hot Fuzz
    Since Mr. Wright and Mr. Pegg are essentially parodying self-parodies, they have also smartly kinked up their conceit by setting most of the film in a sleepy village that might as well be called Ye Old English Towne, thereby wedding one of the most irritating British exports to one of the most absurd American ones. Think of it as "The Full Monty" blown to smithereens.
  29. Vacancy
    This banal horror retread involves a couple of critters flailing inside a sticky trap for what is, in effect, the big-screen equivalent of a roach motel.
  30. Fracture
    The screenwriters, Daniel Pyne and Glenn Gers, hit the customary thriller notes with a touch of humor, and the director, Gregory Hoblit (who worked similar terrain in "Primal Fear"), arranges those notes into a catchy, insistent rhythm.
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