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. A Cinderella Story
    Even for a fairy tale, A Cinderella Story, directed by Mark Rosman from a screenplay by Leigh Dunlap, fails to make sense.
  2. Maria Full of Grace
    Sustains a documentary authenticity that is as astonishing as it is offhand. Even when you're on the edge of your seat, it never sacrifices a calm, clear-sighted humanity for the sake of melodrama or cheap moralizing.
  3. Touch of Pink
    Except for the piquant garnish of Mr. MacLachlan, the movie, written and directed by Ian Iqbal Rashid, is barely a cut above an amateur production. The attempts at humor fizzle, and the performances are wooden and overstated.
  4. I, Robot
    Lacks both the intellectual rigor and the soulful sublimity of "A.I.," but it nonetheless allows some genuine ideas and emotions to pop up amid the noise and clutter.
  5. Flavors
    Bright, good-spirited and blissfully short.
  6. Freestyle: The Art of Rhyme
    The skills on display in Freestyle are too varied and idiosyncratic for one movie to contain, but this one at least offers a heady, rousing education in an art form that is too often misunderstood.
  7. Let's Get Frank
    Has no interest in exploring Mr. Frank's family background or love life. This frustrating lack of context leaves you wanting a lot more in the way of texture.
  8. The Door in the Floor
    Surely the best movie yet made from Mr. Irving's fiction. It may even belong in the rarefied company of movies that are better than the books on which they are based.
  9. Planet Earth: Dreams
    Isn't very successful at evoking the dream state, but does a good job of inducing it.
  10. Metallica: Some Kind of Monster
    You realize you are witnessing a psychodrama of novelistic intricacy and epic scope.
  11. The Inheritance
    As the relentlessly morose movie shows, a corporate hero is not the same thing as a humanitarian; in many ways, he's the antithesis.
  12. Sleepover
    A wispy pubescent comedy.
  13. Anchorman: The Legend of Ron Burgundy
    More amusing than annoying. It is not as maniacally uninhibited as "Old School" or as dementedly lovable as "Elf," but its cheerful dumbness is hard to resist.
  14. Riding Giants
    Because the waves get progressively higher in Riding Giants, Stacy Peralta's historical surfing documentary, some of that thrill is sustained throughout this overlong but entertaining movie.
  15. Afraid of Everything
    The writer and director, David Barker, discards the didactic tone of so much American independent filmmaking in favor of a character study that leads to no easy conclusions.
  16. King Arthur
    Luckily there is an element of broad, brawny camp that prevents King Arthur from being a complete drag.
  17. Bonjour Monsieur Shlomi
    The picture is a bland procession of loosely framed close-ups, which serve only to underline the amateurish performances.
  18. America's Heart and Soul
    A feel-good documentary.
  19. The Clearing
    Mr. Brugge has perhaps succeeded in avoiding vulgar melodrama, but he has hit on something far worse -- a bloodless melodrama, with bottled water running in its veins.
  20. Before Sunset
    The script of Before Sunset is both rambling and self-conscious, and at times it has the self-important sound of clever writing. But though it is sometimes maddening, the movie's prodigious verbiage is also enthralling.
  21. De-Lovely
    A movie so lifeless and drained of genuine joie de vivre it makes you long for the largely fictional earlier film.
  22. Spider-Man 2
    Better than its predecessor, and also superior to most other comic-book-based movies. It has a more credible (and more frightening) villain, a more capacious and original story and a self-confidence based not only on the huge success of the first "Spider-Man" but also on Mr. Raimi's intuitive and enthusiastic grasp of the material.
  23. The Path to Love
    Doesn't add much to the coming-out genre, as it has been established in countless Sundance competition films and made-for-television movies.
  24. The Notebook
    The scenes between the young lovers confronting adult authority have the same seething tension and lurking hysteria that the young Warren Beatty and Natalie Wood brought more than 40 years ago to their roles in "Splendor in the Grass."
  25. The Intended
    The performances are so skillful that the actors almost carry it off. But as the shocks come thicker and faster, the credibility of The Intended, wears away.
  26. Kaena: The Prophecy
    Has no local cultural history behind it. Its secondhand imagery and ideas seem to have barely involved its makers; it definitely does not involve its audience.
  27. Time of the Wolf
    You can feel frightened and disturbed by this movie without being especially moved by it.
  28. Two Brothers
    Yes, it's all terribly hokey. But once you accept the premise as a conceit that allows the director, Jean-Jacques Annaud, to offer an intimate, utopian vision of the animal kingdom, Two Brothers succeeds as an inspirational pastorale and passionate moral brief for animal rights and preservation.
  29. White Chicks
    Credibility, of course, wouldn't matter if the gags were good enough, which they are not. The film quickly falls back on the gross-out jokes that have made recent American comedies such a challenge to the digestive tract.
  30. Fahrenheit 9/11
    While Michael Moore's Fahrenheit 9/11 will be properly debated on the basis of its factual claims and cinematic techniques, it should first of all be appreciated as a high-spirited and unruly exercise in democratic self-expression.
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