The New York Times' Scores

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:
20323 movie reviews
  1. While nothing in the movie - least of all the two main performances - is especially fresh or original, it does have a few decent gags and amusing moments.
  2. Solemn, sentimental bore of a movie that suffocates in its own predictability and watered-down psychobabble.
  3. While not especially good - judged strictly on its cinematic merits, it ranges from O.K. to god-awful - it is still a fascinating cultural document in the age of intelligent design.
  4. Neither funny nor sexy, nor leavened by the wistful laissez-faire wisdom of the typical sophisticated Gallic comedy, it is less than a trifle.
  5. Mr. Kerrigan isn't just playing with our sympathies; he's also playing with our assumptions. That keeps the tension going.
  6. With its lovely scenery and languid pacing, has a warmth and a naturalness that transcend its overheated material.
  7. If Campfire is solidly acted, it is visually drab and has a haphazard narrative momentum.
  8. Green Street Hooligans, an accidental advertisement for Alcoholics Anonymous and the somnolent pleasures of cricket that, in the end, is mostly about the pleasures, both visceral and visual, of violence.
  9. The yummy Japanese confection Kamikaze Girls deserves both a better title and an audience to go with it.
  10. Daniel Anker's profound and moving documentary Music from the Inside Out reflects upon such abstractions, capturing the power of the creative process in an uncommonly perceptive and inspiring way.
  11. The accidental poignancy of Make It Funky! comes from juxtaposing the charisma and dignity of those musicians - and the knowledge of how much great music New Orleans has given the world - with the unavoidable images of devastation from the last two weeks.
  12. A modern-day "Big Chill" wannabe without the subtlety, humor, memorable soundtrack, strong performances or convincing dialogue.
  13. "For my vision of the cinema," Orson Welles once said, "editing is not simply one aspect. It is the aspect." According to Edge Codes.com, a wonderfully informative new documentary, what was true for Welles's cinema is true for the medium as a whole.
  14. But if Usher is stilted, it is also quite touching, and if Mr. Harrington's acting is less than natural, it's completely in line with the standards of the genre. Vincent Price was no Olivier either.
  15. This is synergy of a high order.
  16. Purely shallow but never dull, the film wisely pushes the limits of absurdity to the extreme, making it easier to submit to its sheer camp.
  17. This picture achieves a level of badness that is its own form of sublimity. You almost - please note that I said almost - have to see it to believe it.
  18. The latest bit of damaged goods offered up in the Miramax clearance sale, Underclassman plays like the longest episode of "21 Jump Street" ever made.
  19. Though specializing in confrontational, caustic and often raunchy humor, Ms. Cho has a relaxed and playful stage presence.
  20. Mr. Morel's predilection for murky, nearly pitch-black cinematography and spare, elliptical dialogue indicates his debt to filmmakers like François Ozon and Claire Denis, but Three Dancing Slaves lacks the psychological precision of Mr. Ozon's or Ms. Denis's work.
  21. A sometimes enthralling, sometimes exhausting tour de force.
  22. This is a supremely well-executed piece of popular entertainment that is likely to linger in your mind and may even trouble your conscience.
  23. A graceful and sympathetic look at how the lives of teenagers intersect with a work of literature.
  24. Mr. Eggleston proves the polished granddaddy who, early on, recognized beauty in a garish wasteland. In this accomplished look at a storied career, he instructs - without words - how to see all that is hauntingly familiar.
  25. Kitted out in period garb and dubious British accents, the actors throw themselves into this flimsy contrivance with energy, but are badly served by a director focused on flipping switches and twirling knobs. Despite a few early sparks of promise The Brothers Grimm sputters and coughs along like an unoiled machine, grinding gears and nerves in equal measure.
  26. Not only is the film dreadfully dull: every time something potentially exciting does occur, the scenes are so muddled and chaotic that it is impossible to make out what is happening.
  27. Though filled with romantic contrivances and overlong musical numbers, Undiscovered is curiously lifeless. Bland actors portray single-cell characters in a plot scarcely more diverting than Ms. Simpson's reality vehicle, "The Ashlee Simpson Show."
  28. In the end, The Baxter is a Baxter of a movie: well meaning and mildly likable, but unlikely to sweep you off your feet.
  29. Lush, lurid and completely besotted with itself, Eternal is one of those movies normally found slinking around the ether of late-night cable television.
  30. More interested in romance than sex, Formula 17 swoons with youthful innocence.

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