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. Poseidon
    Pretty much pure boilerplate: a reasonably well-executed throwaway that, when you finally get around to seeing it in its proper setting, will make you glad you decided to travel by air instead of by sea.
  2. Just My Luck
    Just My Luck is a bit of lukewarm cappuccino froth confected to float Ms. Lohan to the next stage of her career.
  3. Goal! The Dream Begins
    As the clichés mount, Danny Cannon directs as if he's the one on trial, teasing tension out of every pass and dribble. Most irritating of all is his determination to paint British soccer as a gentleman's game, a notion United's real fans would no doubt treat with the scorn it deserves.
  4. Dead Man's Shoes
    The always fantastic Paddy Considine evokes both sensitivity and explosiveness.
  5. Giuliani Time
    In general, and in spite of its deft use of archival video clips and interviews, Giuliani Time offers a superficial reading of recent New York history, zeroing in on the headlines while often missing the context.
  6. Keeping Up with the Steins
    Keeping Up With the Steins would have been a much better film if it had waited twice as long before retracting its fangs.
  7. Saving Shiloh
    Touching, intelligent and admirably thoughtful, but more action-packed than its predecessors, thanks to escaped convicts, a local murder and a truly suspenseful finale, with lives at stake.
  8. Wah-Wah
    Yet for all its studied snobbery and brittle entitlement, the film is never mean-spirited: even Ralph's monstrous parents are treated with more compassion than they deserve. Clearly, Mr. Grant's memories are more fond than bitter - even if the same probably can't be said of the Swazis.
  9. Sketches of Frank Gehry
    This absorbing documentary, the first directed by Sydney Pollack, is a modest undertaking, offering glimpses of the architect and his work rather than a full-scale portrait or catalogue raisonné.
  10. Mendy
    Ms. Dias gives the role an understated allure, and Mr. Sandomire is as good as his character's inconsistencies allow. Their performances and Mr. Vardy's ability to be reverent when he wants to be are the film's strengths.
  11. Light from the East
    Mostly the film is a testament to the egomania of the theater: despite what's going on around them, these actors can't see just how minor their modest project really is.
  12. Russian Dolls
    The shallowness of this idealized depiction of European cultural homogeneity is largely camouflaged by the comfortable fit of its director's sensibility with the actors' likable, lived-in performances. An apt alternative title for Russian Dolls might be "Lovers Without Borders."
  13. Crazy Like a Fox
    Written and directed by Richard Squires, Crazy Like a Fox provides Mr. Rees with the daftest role of a long and varied career.
  14. Mission: Impossible III
    Mr. Hoffman enlivens Mission: Impossible III, which otherwise droops, done in both by the maudlin romance and by Mr. Abrams's inability to adapt his small-screen talent -- evident in his capacity as the television auteur behind "Alias" and "Lost" -- to a larger canvas.
  15. Art School Confidential
    In spite of some acute observations and a few interesting performances (most notably from John Malkovich as Jerome's drawing teacher and the ever-reliable Jim Broadbent as Strathmore's least illustrious alumnus), Art School Confidential is a dull and dyspeptic exercise in self-pity and hostility.
  16. An American Haunting
    An American Haunting purports to be based on a documented event, although most of its inspiration has been drawn from the empty well of "The Exorcist" and its progeny.
  17. Hoot
    This sweet-natured but plodding adaptation of a young-adult novel by Carl Hiaasen could have used a little less broad satire of corporate greed and a few more, well, owls.
  18. Down in the Valley
    Begins semirealistically, then veers off course, hurtling into the wild blue yonder of myth and allegory. On the way to a climactic shootout that begins on the set of a Hollywood western and ends on a foggy hillside, it makes several screeching, hairpin turns.
  19. The Proposition
    The cast of The Proposition is reason enough to see the film.
  20. One Last Thing...
    Shrewdly divided against itself. What begins as a small, cleareyed drama about a teenager with terminal cancer morphs into a gauzy tear-jerker.
  21. Kiss Me Again
    The movie is so earnest that it's embarrassing.
  22. The Mistress of Spices
    This is a one-dimensional, sometimes illogical film, but it's certainly good-looking.
  23. How I Killed a Saint
    Successfully conveys the pervasive anxiety of a country on the brink of civil war.
  24. United 93
    Its focus is purposely narrow. But that narrow focus, along with the lack of fully realized characters, and the absence of any historical or political context, raises the question of why, notwithstanding the usual (if shaky) commercial imperative, this particular movie was made.
  25. Stick It
    A spry teenage comedy that gets everything right, Stick It takes the usual batch of underdogs, dirt bags, mean girls and bimbos and sends them somersaulting through happy clichés and unexpected invention.
  26. Akeelah and the Bee
    The innate suspense and charm of the spelling bee, along with a trio of crack performances, turn what is in essence a formulaic sports picture into something more satisfying: an underdog tale that manages to inspire without being sappy.
  27. RV
    Nowadays no family movie is complete without a values-oriented agenda and a bountiful supply of fecal matter, and RV supplies both.
  28. Guys and Balls
    The climactic game provides an opportunity for some of the most sustained - and literal - gay bashing in movie history, even if the outcome is no more surprising than that of any other underdog comedy.
  29. The Lost City
    In its groggy way The Lost City holds your attention. Incoherent, but splendidly panoramic and drenched in wonderful Cuban music, it has the texture of a vivid, intoxicating dream that seems to mean something until you wake up and feel it slipping away. All that remains are feelings and impressions connected by a mood.
  30. Water
    An exquisite film about the institutionalized oppression of an entire class of women and the way patriarchal imperatives inform religious belief.
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