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. Jarhead
    Mr. Swofford's book has earned a place alongside the classics of military literature, but Mr. Mendes's film is more like a footnote - a minor movie about a minor war, and a film that feels, at the moment, remarkably irrelevant.
  2. Brooklyn Lobster
    An unusually pure example of American kitchen-sink realism.
  3. The Dying Gaul
    Mr. Sarsgaard gives the riskiest screen performance of his career. Save perhaps for Sean Penn's outbursts in "Dead Man Walking" and "Mystic River," no actor in a recent American film has delivered as explosive a depiction of a man emotionally blasted apart.
  4. Gay Sex in the 70s
    Within that narrow framework, the film is quite successful, using archival photographs, clips from pornographic films and television commercials, and interviews to evoke the period between June 1969, when the Stonewall riots brought homosexuality out of the shadows, to June 1981, when the AIDS epidemic began.
  5. I Love Your Work
    Directed by the young actor Adam Goldberg, best known for playing the Jewish soldier who falls to a Nazi knife in "Saving Private Ryan," I Love Your Work is an attempt to say something interesting about modern celebrity.
  6. Wal-Mart: The High Cost of Low Price
    Makes its case with breathtaking force.
  7. Christmas in the Clouds
    A wisp of a movie so bursting with good cheer that even its sole meanie is given a personality makeover before the end credits.
  8. Derailroaded
    Larry (Wild Man) Fischer, the psychotic songwriter and performer (found to be both paranoid-schizophrenic and bipolar) is sympathetically profiled in Josh Rubin's documentary.
  9. The Legend of Zorro
    This is a hiss-the-villain, cheer-the-hero kind of movie.
  10. Prime
    All of this makes the movie pleasant, but not very memorable - a pale mirror image of "Shopgirl," which touches on some similar themes.
  11. Saw II
    It's fully apparent that this sequel is more trick than treat and doesn't really compare to its fine predecessor - though it still manages to be eye-opening (and sometimes positively nauseating) in itself.
  12. The Weather Man
    Neither the screenplay nor the direction has the requisite depth to turn the banality of one unremarkable life into the stuff of Chekhov, much less of Mr. Payne.
  13. New York Doll
    Greg Whiteley's small, tender documentary portrait New York Doll looks at life after rock 'n' roll as experienced by Arthur (Killer) Kane, the original bassist for the legendary glam-punk band the New York Dolls.
  14. Paradise Now
    Along the way, Paradise Now sustains a mood of breathless suspense. Politics aside, the movie is a superior thriller whose shrewdly inserted plot twists and emotional wrinkles are calculated to put your heart in your throat and keep it there.
  15. The Passenger (re-release)
    No other performer (Jack Nicholson) in an Antonioni film, except Jeanne Moreau in "La Notte," has so gracefully submitted to Mr. Antonioni and survived intact. (Review of Original Release)
  16. Three... Extremes
    Though Three ... Extremes may seem tame to jaded fans of what has been termed New Asian Horror, it serves as a fine introduction to the genre for those who are curious but squeamish.
  17. little man
    Weighing in at almost exactly one pound and unable to breathe or eat on his own, Nicholas James Baba-Conn seemed doomed to a very short life; his chance for survival was calculated at close to zero.
  18. Ballets Russes
    Ballets Russes does tell a marvelous story of midcentury show business, encompassing both the most exalted expressions of pure art and the sometimes grubby commerce that sustained it.
  19. Symbiopsychotaxiplasm: Take One
    If all this sounds a bit nuts, dangerously self-indulgent and very of its experimental moment, it is. But it's also highly entertaining and, at moments, revelatory about filmmaking as a site of creative tension between individual vision and collective endeavor.
  20. 71 Fragments of a Chronology of Chance
    An icy-cool study of violence both mediated and horribly real.
  21. Doom
    This claustrophobic mess of a movie offers only carnage.
  22. Dreamer: Inspired by a True Story
    Follows a formula, but the formula, when applied with skill and intelligence, as it is here, is pretty much foolproof.
  23. Shopgirl
    Elegant and exquisitely tailored.
  24. Stay
    Marc Forster takes a maximalist approach to this mumbo jumbo, which means that in addition to lots of wacky angles, shiny surfaces, seemingly endless stairs, and sets of twins, triplets and quadruplets, he deploys the unsettling vision of three talented actors - Ewan McGregor, Naomi Watts and Ryan Gosling - straining credulity and neck tendons in the service of serious claptrap.
  25. Kiss Kiss Bang Bang
    I don't think Kiss Kiss, Bang Bang is an altogether bad movie. It's just a movie with no particular reason for existing, a flashy, trifling throwaway whose surface cleverness masks a self-infatuated credulity.
  26. After Innocence
    Calm, deliberate and devastating, Jessica Sanders's documentary After Innocence confirms many of the worst fears about weaknesses in the American criminal-justice system.
  27. White King, Red Rubber, Black Death
    Although too compressed by half, the film manages to recreate what, at one point, the hectoring narrator will call an "archaeology of repression."
  28. Emmanuel's Gift
    Sadly, Emmanuel's Gift is a powerful story of political change almost smothered by contrivance.
  29. Innocence
    The line between cinematic art and exploitation has rarely seemed finer and nervier, at least in recent memory, than in the French film Innocence.
  30. Protocols of Zion
    Makes it case expertly and powerfully, but it does not propose a solution. The cumulative effect of the film's message is enormous sadness that hate is so strong and so resistant to reason.
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