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. Fifty-Fifty
    Ms. Omarova has a painter's eye for composition and a novelist's sense of character.
  2. Steamboy
    The film turns into a preposterous but engrossing spectacle, fueled by a resource more enduring than steam or its successors: big ideas.
  3. The Rider Named Death
    To make a film in 2005 that asks audiences to sympathize with the plight of a band of terrorists is an intellectually audacious gesture.
  4. Milk and Honey
    Milk and Honey is the kind of nightmare-in-a-box you might expect if Neil LaBute remade Martin Scorsese's "After Hours" on a shoestring.
  5. 16 Years of Alcohol
    The tedium of this antidrinking hoodlum's tale inspires the wrong kind of longing entirely.
  6. After the Apocalypse
    Despite its spasms of brutality and a swerve into the macabre, After the Apocalypse is, by comparison with more recent films of this type (the "Mad Max" series), gentle at heart and terribly sincere.
  7. Hostage
    More than sad, it's slightly sickening to consider the technology, talent and know-how squandered on Hostage, a pile of blood-soaked toxic waste dumped onto the screen in an attempt to salvage Bruce Willis's fading career as an action hero.
  8. Robots
    In the end, though, Robots is hollow and mechanical, an echo chamber of other movies and an awkward attempt to turn the intrinsically scary sensitive-robot theme into something heartwarming and cute.
  9. The Upside of Anger
    A seriously flawed movie wrapped around two nearly perfect performances.
  10. Millions
    A heartfelt, emotionally delicate children's movie about life and death and all the parts in between.
  11. In My Country
    High-minded but hopelessly wooden film.
  12. Mail Order Wife
    The narrative manages 30 solid minutes of ingenuity, before breaking into a version of Charlie Kaufman-style absurdity.
  13. The Boys & Girl from County Clare
    Appealing if obvious little fable.
  14. Don't Move
    It is a beautifully made film - decorously composed, meticulously acted, cleanly photographed. But all of these qualities make it seem complacent and hypocritical when it wants to be honest and brave, and sentimental rather than emotionally daring.
  15. Dot the I
    If Dot the i, the directorial debut of Matthew Parkhill, has a crass visual flash, it fails to give its characters any credible substance. Even after it purports to eviscerate their psyches, they remain diagrammatic contrivances.
  16. Nowhere Man
    A weird blooper reel, shown as the credits roll, records how often the actors broke into nervous laughter, and this goofy coda undermines any serious intent or honest emotion in the previous, tedious 80 minutes.
  17. Off the Map
    With a director, screenwriter and star who have deep roots in the theater, Off the Map is more than anything an actor's film.
  18. The Buffalo Boy
    One of the strengths of Mr. Nguyen-Vo's film is that despite the overwhelming physical beauty of the landscape and the simplicity of his characters, he doesn't succumb to such aerated thinking. The world in Buffalo Boy" is filled with wonder, but it is a world also filled with real desire, real death, not abstractions.
  19. Santa Santita
    Magdalena relies on the magical-realism aspects of religious devotion, even though it began as a story more firmly, and admirably, rooted in a gritty reality.
  20. Sheriff
    Sheriff may have a point to make about the impact of family, roots and religion on the changing face of rural America, but the film, while admirably restrained and competently made, is too polite to clarify that.
  21. Be Cool
    Like the characters, the scenes pile up but go nowhere; the story seems fragmented, the actors unmotivated, unmoored. Mr. Gray has a feel for pulp, but is seriously off his game here.
  22. The Jacket
    This movie is terribly silly, but it's not completely terrible.
  23. The Pacifier
    Mr. Diesel could not have succeeded as a genre-switcher without the proven television talents of the film's able ensemble.
  24. Dear Frankie
    "Miramax porn." The term refers to manipulative tearjerkers like Dear Frankie whose sensitive performances, along with a light dusting of grit, allow them to be marketed as art films. This one is clever enough to fool a lot of people.
  25. Face
    The director's attention to details of character and locale makes for a precise evocation of a New York seldom seen in feature films.
  26. Gunner Palace
    The resulting film is an unruly, riveting assemblage of anecdotes and impressions. The larger political and military questions about the war in Iraq are kept deliberately in the background, which some viewers may find frustrating.
  27. Intimate Stories
    Almost every frame of this modest gem of a movie, directed by Carlos Sorin from a screenplay by Pablo Solarz, conveys the emptiness of the environment in which three interwoven vignettes unfold.
  28. Walk on Water
    Though it is marred by an implausible climax and a cloying conclusion, this movie's quiet intelligence sneaks up on you, marking the director as a talent to watch.
  29. Whisky
    A deadpan comedy shot through with a vein of despair, the Uruguayan film Whisky is a pint-size pleasure.
  30. The Best of Youth
    Full of nuance and complexity, but it is also as accessible and engrossing as a grand 19th-century novel.
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