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. Who Gets to Call It Art?
    This glib, largely uninformative and poorly organized précis of the post-World War II art scene, with its emphasis on New York in the 1960's and the curator Henry Geldzahler, succeeds neither as history nor as art history.
  2. Bubble
    Easier to admire than love, Bubble is a fascinating exercise that seems calculated to repel most audiences, which probably suits Mr. Soderbergh just fine.
  3. Annapolis
    Annapolis has enough material for an exciting trailer. But that's all the movie really is: a trailer tricked out with protracted boxing sequences and an undernourished romantic subplot that culminates in a single tepid kiss.
  4. Big Momma's House 2
    Inconsequential sequel for the undemanding moviegoer.
  5. Nanny McPhee
    In the endearing but somewhat scatterbrained British film Nanny McPhee, Emma Thompson creates an indelible character reminiscent of Mary Poppins as conceived by the author P. L. Travers and the illustrator Mary Shepard.
  6. Dai si gin
    It's a slam-dunk of an opener in a film filled with terrifically choreographed action and very little on its mind.
  7. Imagine Me & You
    Enervating trifle.
  8. Little Jerusalem
    For the first full hour, as we're guided inside privacies of culture and consciousness, Ms. Albou sustains her rich and gently intoxicating mode of storytelling, a feat all the more admirable in light of the overly schematic script.
  9. Manderlay
    To warm to Manderlay, the chilly second installment of Lars von Trier's not-yet-finished three-part Brechtian allegory examining United States history, you must be willing to tolerate the derision and moral arrogance of a snide European intellectual thumbing his nose at American barbarism.
  10. Roving Mars
    If many of the scenes are fake, however, the thrill of the project is not, and what we do see of the surface - hyperclear photographs on the scale of 100-by-180 feet - is out of this world.
  11. Tristram Shandy: A Cock and Bull Story
    This is not just a movie-within-a-movie, but a movie-within-a-movie-within-a-movie, something that sounds unbearably arch but that is swift, funny and surprisingly unpretentious.
  12. The Spirit of the Beehive
    The Spirit of the Beehive, like "Cinema Paradiso," also takes place at the particular intersection of reality and fantasy defined by youthful moviegoing.
  13. Go for Zucker
    It's the rare German movie calling itself a comedy that is actually funny, even if only in bits and pieces.
  14. Looking for Comedy in the Muslim World
    Front-loaded with inspired gags, and the first half-hour is both sneakily and explosively funny, raising expectations that are never quite met.
  15. Why We Fight
    Mr. Jarecki forcefully, if not with wholesale persuasiveness, argues that our business is specifically war.
  16. End of the Spear
    Inspiring enough to make you wish that the filmmakers had reined in their sentimental excesses.
  17. Underworld: Evolution
    The fascist undercurrents of this battle remain unexplored. Maybe one day, Hollywood will figure out that pouring acting-challenged starlets into black neoprene and sticking them in front of a blue screen do not a movie make. We can but hope.
  18. Pizza
    The tone is half mocking, half forthright and completely boring.
  19. How to Eat Your Watermelon in White Company (and Enjoy It)
    The film chronicles an astonishing career...Mr. Van Peebles is that rarest of modern creatures: a free man.
  20. Blossoms of Fire
    It's easy to be seduced by this film's warmhearted, if slightly utopian, vision.
  21. Perception
    As the jaundiced, disjointed, drug-infested story heads toward its dismal conclusion, its reputable actors vainly struggle to infuse the goings-on with a deadpan psychotic zaniness. But even when viewed sideways, Perception is not funny; it's hardly anything at all.
  22. The Real Dirt on Farmer John
    Offers one man's extraordinary life as a gateway to a larger history of tragedy and transition. It's an unflinching account of what farming takes -- and, more important, what it gives back.
  23. 24 Hours on Craigslist
    In essence, this is a string of intermittently interesting, occasionally funny, periodically wacky if rarely disturbing, sometimes touching though fairly boring and poorly shot human-interest stories.
  24. The Fall of Fujimori
    A cautionary essay on the risks to democracy posed by the fight against terrorism.
  25. Glory Road
    Glory Road is satisfying less for its virtuosity than for its sincerity, and also because it will acquaint audiences with a remarkable episode that had ramifications far beyond the basketball court.
  26. Last Holiday
    As witless as it is formulaic.
  27. Tristan and Isolde
    Just as there is something undeniably pleasant about an entertainment like Tristan & Isolde that delivers exactly what it promises, no less, no more.
  28. April's Shower
    Yet despite the absurdities and predictable outcome, April's Shower is enjoyable, primarily for its refreshingly volatile approach to sexual orientation.
  29. That Man: Peter Berlin
    One of the enduring icons of gay male eroticism, the phenomenon known as Peter Berlin is explored, explained, ogled and interviewed in the superb documentary That Man: Peter Berlin.
  30. When the Sea Rises
    And as you watch her (Moreau) sink into this semiautobiographical role (she was herself a touring performer in the 1980's), the character emerges as a deep, multilayered woman: kind, gentle and happily partaking of life's simple pleasures much of the time, but when necessary, as tough as her stage character through whom she relishes expressing her residual anger at life's hardships and disappointments.
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