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. Ask the Dust
    More than anything else, Ask the Dust feels like a compendium of desires - for a city, for a woman, for youth.
  2. Duck Season
    Inside this small canvas - almost the entire film unfolds in the one apartment - Mr. Eimbcke turns each character into an epic.
  3. The Heart Is Deceitful Above All Things
    Viewer discretion is advised, if only because it's well-nigh unwatchable.
  4. Evil
    The movie is as blunt as its title. It portrays such behavior as "evil" without offering any deep insights or revelations, beyond handing out the plot equivalent of a lollipop at the end of the movie as compensation for the vicarious anguish.
  5. Game 6
    A tale of one man's meltdown that ought to have an expiration date of Oct. 27, 2004, stamped on every frame.
  6. Shakespeare Behind Bars
    The filmmakers, Hank Rogerson and Jilann Spitzmiller, encourage us to marvel at the transformative power of art. In Shakespeare Behind Bars, the most restricted people in society find freedom in performance and release in words.
  7. The Fallen
    Directed by Ari Taub with a naturalistic style and a nonpartisan eye, The Fallen finds its humanity in the dailiness of a soldier's life, in the long stretches of nothing, where tensions swell and the killing of a deer can spark a mutiny.
  8. Neighbour No. 13
    Suffering its own split personality, The Neighbor No. Thirteen is an art house exploitation film neither arty nor exploitative enough.
  9. 16 Blocks
    Mr. Willis has always been an acquired taste, but for those who did acquire that taste, riding shotgun on his good times and bad, it's a pleasure to see him doing what comes naturally.
  10. Aquamarine
    Ms. Paxton isn't quite as magnetic as a movie mermaid ought to be, but the two buddies are a treat to watch, especially Ms. Roberts, showing the genes of her Aunt Julia.
  11. Dave Chappelle's Block Party
    Mr. Chappelle looks and sounds alternately ebullient and weary. It was directed by Michel Gondry, the madcap genius behind "Eternal Sunshine of the Spotless Mind," but in its tone and vibe feels like Mr. Chappelle's all the way.
  12. Ultraviolet
    Mr. Wimmer is more concerned with fetishizing his heroine and patronizing his audience. The verdict? Ultrasilly.
  13. Deep Sea
    The soothing voices of Johnny Depp and Kate Winslet provide the informative yet often uninspired narration. And Danny Elfman's mystical sounds serve up just the right atmosphere for this almost complete immersive experience, during which adults will be made into giggling children, and children into aspiring marine biologists.
  14. Merry Christmas
    If the film's sentiments about the madness of war are impeccably high-minded, why then does Joyeux Noël, an Oscar nominee for best foreign-language film, feel as squishy and vague as a handsome greeting card declaring peace on earth?
  15. Woman Is the Future of Man
    Mr. Hong is not yet the equal of Mr. Antonioni, but it has become increasingly difficult to see intellectually stimulating, aesthetically bold films like this in American theaters.
  16. In Cold Blood (re-release)
    Excellent quasidocumentary, which sends shivers down the spine. (Review of Original Release)
  17. Doing Time for Patsy Cline
    The saving graces of the film, written and directed by Chris Kennedy, are its performances, especially Mr. Roxburgh's portrayal of a floundering lost soul with little to show for an itinerant life, and Ms. Otto's ditsy, mercurial and ultimately touching country singer.
  18. Home
    Home accumulates a blurry, on-the-fly atmosphere spiked with moments of unexpected sweetness. The movie, though, is most successful when the dialogue mutes and our attention is focused on Jonathan Wolff's gliding camera; in those moments, the brownstone is the most interesting character of all.
  19. Our Brand Is Crisis
    Boynton's Our Brand Is Crisis, which chronicles the entire election-strategizing process in scrupulous detail, will pack a punch with even the most informed viewer.
  20. Sorry, Haters
    Unfolds with such utter looniness that the horrible final moments are more likely to inspire laughter than shock. Casually insulting our emotions and intelligence, Mr. Stanzler seems to have shaped his film with one goal in mind: to prove that audacity and recklessness are acceptable substitutes for craft and common sense. Needless to say, they're not.
  21. Al otro lado
    This infectious little movie enriches understanding of the immigrant experience insofar as it translates one of its main forms of expression. Where the movie goes wrong, albeit down a forgivable path, is in the attempt to personalize its subject by means of biographical focus on an aspiring corrido composer.
  22. Tsotsi
    To his credit, Mr. Hood's meditation on truth and reconciliation doesn't traffic in the cheap thrills of art-house exploitation, like "City of God"; he wrings tears with sincerity, not cynicism.
  23. Doogal
    An animated clunker.
  24. Madea's Family Reunion
    Both Ms. Angelou and Ms. Tyson deliver powerful, touching messages. Just as they're sinking in, the film turns into an unabashed chick flick with a painfully gaudy wedding that includes live angels hanging on wires from the ceiling.
  25. Running Scared
    Even a talented lead couldn't save Mr. Kramer from himself. As a writer, he may have fashioned a genre-busting screenplay, one that has its postmodern cake and eats it, too, but as a director he proves himself as blood simple, if generally less adept, as any Hollywood hire.
  26. Dirty
    A facile exercise in nihilism posing as an indie "Training Day" with street cred. Don't believe it.
  27. Little Fish
    As in all her screen performances, Ms. Blanchett immerses herself completely in her character, a damaged, high-strung woman determined to live the straight life while surrounded by temptation.
  28. Unknown White Male
    Crammed with friendly, sympathetic talking heads and pretty images of a stunned-looking Mr. Bruce, then 35, relearning life (he remembers how to walk but forgot family and friends), the film comes up frustratingly short when it comes to the particulars.
  29. Black Orpheus
    It really is not the two lovers that are the focus of interest in this film; it is the music, the movement, the storm of color that go into the two-day festival. M. Camus has done a superb job of getting the documented look not only of the overall fandango but also of the buildup of momentum the day before. (Review of Original Release)
  30. Forgiving Dr. Mengele
    For a film about death-camp survivors Forgiving Dr. Mengele is surprisingly uplifting and, at times, even lighthearted.
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