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. Rize
    Indeed, the movie sometimes has trouble living up to the richness of its subject, or keeping up with the dances' rapid spread and evolution.
  2. Yes
    Yes is not just a movie, in other words, it's a poem. A bad poem. There is no denying Ms. Potter's skill at versifying - or for that matter, at composing clear, striking visual images - but her intricate, measured lines amount to doggerel, not art.
  3. Dallas 362
    Mr. Caan's debut film is not quite a whole thing, but it offers up enough promising fragments to make his sophomore effort worth watching for.
  4. Lila Says
    Ms. Giocante's intoxicating mixture of gamine innocence and womanly knowingness is almost too much for the movie - Lila is surely too much for Chimo - but her charisma, and Mr. Doueiri's insouciant, heart-on-the-sleeve style give it a mood that is at once breathlessly romantic and cannily down to earth.
  5. The Last Mogul
    More history lesson than dirt-digging expedition, and makes illuminating viewing for anyone curious about how the movies get made - information that is sometimes more interesting than the movies themselves.
  6. Memories of Murder
    What distinguishes Memories of Murder, setting it apart from rank-and-file thrillers, is its singular mix of gallows humor and unnerving solemnity.
  7. March of the Penguins
    This sentimental but riveting film has no qualms about playing on our emotions.
  8. The War on the War on Drugs
    The movie is 74 minutes of hilarious pro-drug vignettes, loosely strung together like a themed episode of "Saturday Night Live."
  9. Herbie Fully Loaded
    A perfectly silly movie for a silly season that in recent years has forgotten how to be this silly. Directed by Angela Robinson, this latest installment in the movie-television franchise about a tiny car named Herbie with a will of its own and the temperament of a rambunctious 7-year-old knows exactly what it is and what it isn't.
  10. Waging a Living
    Neither hectoring nor sanctimonious, the film plays like an illustrated version of Barbara Ehrenreich's recent best-seller "Nickel and Dimed," and has an editing style that's brisk and unexploitative.
  11. The Deal
    It's when The Deal leaves the corporate offices behind that the story turns into a bogus, convoluted mess. Once the Russian mafia, personified by Angie Harmon playing an evil seductress with a terrible Russian accent, rears its head, the ballgame is over.
  12. The Perfect Man
    The range of Ms. Locklear's lobotomized acting runs from mild irritation to mild melancholy, expressed without expression.
  13. The Great Water
    What makes the film worth watching are the extraordinary performances by the more than 250 children cast as orphans.
  14. Heights
    Like the film, the characters mean well and look good. But they're so deeply immersed in their own heads that they can't see the world for their needs.
  15. Me and You and Everyone We Know
    Though her movie has a clear narrative line, and might even be classified as romantic comedy, it is also a meticulously constructed visual artifact, diffidently introducing the playful, rebus-like qualities of installation art to the conventions of narrative cinema.
  16. My Summer of Love
    The film is a triumph of mood and implication.
  17. The Talent Given Us
    The strange and delightful Talent Given Us is a movie that shouldn't work but does rather remarkably.
  18. Ethan Mao
    By the time we reach the "Butch Cassidy"-inspired climax, any filaments of credibility still clinging to these characters have completely disappeared.
  19. Batman Begins
    Conceived in the shadow of American pop rather than in its bright light, this tense, effective iteration of Bob Kane's original comic book owes its power and pleasures to a director who takes his material seriously and to a star who shoulders that seriousness with ease.
  20. J.S.A.: Joint Security Area
    This warm, sorrowful film plays like a downbeat variation on an old World War II picture from Hollywood.
  21. Wheel of Time
    The movie might as well have been called "An Immersion in Tibetan Buddhism." With minimal explanation, it puts you right in the center.
  22. Mr. & Mrs. Smith
    What counts in a movie like this are stars so dazzling that we won't really notice or at least mind the cut-rate writing and occasionally incoherent action. Sometimes Mr. Pitt and Ms. Jolie succeed in their mutual role as sucker bait, sometimes they don't, which is why their new joint venture is alternately a goof and a drag.
  23. The Honeymooners
    Superfluous though it may be, The Honeymooners is not so bad.
  24. High Tension
    By turns unnerving and numbing.
  25. The Adventures of Sharkboy and Lavagirl 3-D
    Mr. Rodriguez seems unsure what his film is really about, making the moral of the story -- "dream an unselfish dream" -- feel more like a vaguely judgmental homily than a satisfying conclusion.
  26. Howl's Moving Castle
    Sophie, in both her incarnations, joins an impressive sisterhood of Miyazaki heroines, whose version of girl power presents a potent alternative to the mini-machismo that dominates American juvenile entertainment. Not that children are the only viewers likely to be haunted and beguiled by Howl's Moving Castle - all that is needed are open eyes and an open heart.
  27. Slutty Summer
    The film is a labor of love for Casper Andreas, who wrote, directed and starred in this first feature. For the actors he has chosen, it's a labor of lust, with copious necking and grappling required. For the audience, it's just a labor.
  28. Wild Side
    Too elliptical and poetically structured to cohere as more than an intense mood piece with social ramifications. The movie is so enraptured with its own romantic desolation that its narrative drive becomes sidetracked.
  29. The Bridge of San Luis Rey
    May be the opposite of trash, but it is something just as disposable: dead literary meat. Dragged down by a stuffy screenplay clotted with generic period oratory, overdressed to the point that the actors seem physically impeded by their ornate costumes, and hopelessly muddled in its storytelling, the movie is edited with a haphazardness that leaves many dots unconnected.
  30. 5x2
    Told in the usual sequence, the story of Gilles and Marion would be a banal bell curve of infatuation, bliss, boredom, regret and recrimination. As it is, 5x2 does not quite make the case that Gilles and Marion are entirely worth our interest, let alone our sympathy, but the reversal of narrative order gives their ordinary moments together a faint aura of mystery, as Mr. Ozon teases us with the conceit that it will all make sense in the end - or rather, the beginning.
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