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. Coach Carter
    This may be the coach's story, but to the extent that Coach Carter is interesting rather than merely inspirational, it's because of the team.
  2. Elektra
    No question, the film's best special effect is Ms. Garner, especially when she's in costume.
  3. Racing Stripes
    Racing Stripes is unlikely to ascend to the pantheon of perennially watchable children's films, but like its hero, what it lacks in skill, it makes up for in heart.
  4. The Chorus
    A deeply conventional story about truculent or orphaned boys and the gentle soul who finds himself by shaping the tots into a chorus.
  5. Appleseed
    While there are some genuinely dazzling moments of visual bravura, the marriage of flatness and depth that Mr. Aramaki attempts doesn't quite work.
  6. Short Cut to Nirvana: Kumbh Mela
    Given the event's size and complexity, it is perhaps inevitable that this documentary feels haphazard and superficial, more tourist's photo album than analysis. Still, the glimpses it offers are never less than fascinating.
  7. About Baghdad
    The inexplicable use of split screens and multiple images does little to bolster the power of the speakers' testimony. If anything, the technique is distracting. Material as emotionally and intellectually challenging as this requires no gimmicks at all.
  8. White Noise
    A film worthy neither of Mr. Keaton's talents nor even a desperate horror fan's attention.
  9. Solitude
    Ultimately feels like a clinical study without wider resonance.
  10. Murder-Set-Pieces
    It is hard to know what exactly Mr. Palumbo is trying to say in his debased film.
  11. Sky Blue
    Teeters unsteadily between dystopian fable and Saturday-morning cartoon.
  12. A Love Song for Bobby Long
    The hokey solemnity of A Love Song for Bobby Long suggests "The Mundane Secrets of the Ya-Ya Brotherhood" or "The Notebook Goes to the Big Easy." The movie is another example of Hollywood's going soft and squishy when it goes South.
  13. The Assassination of Richard Nixon
    That The Assassination of Richard Nixon is as well directed, acted and shot as it is makes Mr. Mueller's inability to invest his film with significance all the more disappointing.
  14. The Merchant of Venice
    Btter-than-average screen Shakespeare: intelligent without being showily clever, and motivated more by genuine fascination with the play's language and ideas than by a desire to cannibalize its author's cultural prestige.
  15. In Good Company
    In Good Company lacks both the emotional sting and the bright pop-culture snap of "About a Boy," as well as Mr. Hornby's carefully cultivated irony, but it makes for an agreeable solo directing debut.
  16. Fat Albert
    In Fat Albert, that trademark is resurrected to depressingly diminished ends.
  17. Darkness
    The real mystery is why such a mangled film was not junked altogether.
  18. The Woodsman
    What is more remarkable is that he (Bacon)has found a way, without the slightest hint of vanity or ostentation, to convey the inner life of a man who is almost entirely shut down.
  19. The Keys to the House
    The kind of quietly unassuming tear-jerker that works its way into your heart despite the occasional cries of protest emanating from your head.
  20. In the Realms of the Unreal
    Obscure by nature and unwieldy by design, Darger's work is difficult to confront and consume; Ms. Yu has brought it a little closer, and that is as fine a public service as an art documentary can provide.
  21. The Phantom of the Opera
    Lord Lloyd Webber's thorough acquaintance with the canon of 18th- and 19th-century classical music is not in doubt, but his attempt to force a marriage between that tradition and modern musical theater represents a victory of pseudo-populist grandiosity over taste - an act of cultural butchery akin to turning an aviary of graceful swans and brilliant peacocks into an order of Chicken McNuggets.
  22. Meet the Fockers
    Ms. Streisand hasn't been called on to deliver an immortal or even interesting performance, but she is a pip to watch.
  23. Hotel Rwanda
    A political thriller based on fact that hammers every button on the emotional console.
  24. Imaginary Heroes
    Piles too many small disasters on top of the initial tragedy, including a drunken car accident, a drug bust and a cancer scare. It also swerves unsteadily into farce.
  25. Open My Heart
    It does achieve a certain claustrophobic fascination, but never gets around to making its point.
  26. Beyond the Sea
    Beyond the Sea, with all its gaping faults, is the genuine article. It succeeds in being deeply and sincerely insincere.
  27. Flight of the Phoenix
    A moth-eaten stranded-in-the-desert yarn that throws in every cheap trick in the manual to pump up your heartbeat, is so manipulative that the involuntary jolts of adrenaline it produces make you feel like a fool.
  28. The Sea Inside
    The film fails to convey the claustrophobic terror experienced by a man who called his book "Letters From Hell."
  29. The Life: What's Your Pleasure?
    A tedious, not-at-all titillating exploitation film.
  30. Spanglish
    Mr. Sandler has a solid, fumbling likability, without which Spanglish would be not merely annoying but despicable in its slick complacency.
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