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. Kids in America
    Because Kids in America can't decide whether it wants to be a stock teenage comedy or something more, it ends up stranded in the middle of nowhere.
  2. The Roost
    The Roost proceeds with such youthful enthusiasm that its rawness is more charming than annoying.
  3. The Optimists
    The director, who also served as producer along with Lisa Comforty, his wife, spent 12 years compiling the archival clips and photographs that make up this compact and elegant film.
  4. Naked in Ashes
    Ms. Fouce has gained unprecedented access to her subjects, but her own admiration for them makes this documentary more heartfelt than it is rigorous.
  5. The Time We Killed
    The Time We Killed has the raw intimacy of a filmed diary, but as with reading a stranger's journal, it eventually gets dull.
  6. Rooms for Tourists
    Mr. Bogliano, just 19 at the start of production, has made a promising debut that consistently hits the right creepy points while exhibiting impressive gory effects created with extremely limited resources.
  7. Ushpizin
    Stylistically Ushpizin belongs to a classic tradition of raucous Yiddish comedy that is easy to enjoy if taken lightly. At the same time, it sustains a double vision of ultra-Orthodox life.
  8. Three of Hearts: A Postmodern Family
    A significant development turns Susan Kaplan's documentary into a thought-provoking story.
  9. Return of the Living Dead: Necropolis
    The running gags of the dual Living Dead chapters slow to a crawl after four hours, but viewers should discount the flaws of such low-budget, high-energy projects. These are scrappy installments that actually succeed in making the consumption of brains fodder for thought. [14 Oct 2005, p.E]
    • The New York Times
  10. Domino
    A lollapalooza of delectable cheap thrills.
  11. Elizabethtown
    Elizabethtown is a long, lurching trip to nowhere in particular, but Elizabethtown is a place where you wouldn't mind spending some more time, though perhaps under different circumstances.
  12. The Fog
    Mildly scary here and there. It does not play by all the horror movie rules (e.g., the black guy always dies first). And the cast is good-looking.
  13. Where the Truth Lies
    In the end, it is Mr. Egoyan's fealty to the novel, its feints and dodges, that proves the film's undoing.
  14. North Country
    That the film works as well as it does, delivering a tough first hour only to disintegrate like a wet newspaper, testifies to the skill of the filmmakers as well as to the constraints brought on them by an industry that insists on slapping a pretty bow on even the foulest truth.
  15. Innocent Voices
    As an outcry against the forcible conscription of children into armies around the world, Innocent Voices, is an honorable film. But as a balanced portrait of a tragic civil war, it is simplistic and opaque.
  16. Loggerheads
    If it isn't easy being any of the troubled people wandering through the film, Loggerheads makes it easy not only to believe in them, but to care about them as well.
  17. Nine Lives
    Together, however, they add up to a film that may be the closest movies have come to the cinematic equivalent of a collection of Chekhov short stories.
  18. Summer Storm
    Directed by Marco Kreuzpaintner like a barely legal pornography flick with extra plot, the movie is a perfect storm of clichés.
  19. The President's Last Bang
    Tight, sober and strangely comical.
  20. Don't Tell
    The kind of witless production that should rightly be cluttering the discount bins at your local video store.
  21. The Dark Hours
    A cold and moody psychodrama poised frustratingly on the border between novel and banal.
  22. Henri Langlois: The Phantom of the Cinematheque
    Mr. Richard's film makes a persuasive case for Langlois as one of the most important figures in the history of film and therefore in the history of 20th-century art.
  23. Land of Plenty
    Land of Plenty, is like a clumsy, well-meaning intervention in a family quarrel. Mr. Wenders may not have the power to heal the rifts his movie acknowledges - and his account of them may not always be persuasive - but there is nonetheless something touching about his heartfelt concern.
  24. Good Night, and Good Luck.
    He [Clooney] has found a cogent subject, an urgent set of ideas and a formally inventive, absolutely convincing way to make them live on screen.
  25. The Gospel
    When not in song, the words that come out of the frustratingly undefined characters' mouths are mostly awkward and contribute to the film's overall incoherent narrative.
  26. In Her Shoes
    The joy of this unassuming, generous film is that it never sells out its characters' desires or ours.
  27. Two for the Money
    A confusion of tones, intentions and allusions, Two for the Money lurches from upbeat to downbeat without ever settling into a coherent groove.
  28. Waiting...
    Putrid comic stew.
  29. The Aggressives
    In the film's briskly paced 72 minutes, any open-minded viewer will discover something about identity and about the comfort these women have obviously found in learning to be their unusual, unfettered selves.
  30. Before the Fall
    If Before the Fall feels a tad overdetermined, it also feels emotionally honest. Calmly and carefully, Mr. Gansel makes large points with small scenes.
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