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. Dirty Dancing: Havana Nights
    It's one of the rare films for which a blooper reel would be redundant.
  2. Goodbye Lenin!
    Much too long. It starts to feel like a flabby, dramatic version of the first "Austin Powers" movie, another exercise in living anachronism as a storytelling device. By the time the picture's final note about German reunification is struck, "Lenin!" has raised a wall of indifference for the audience.
  3. Risk/Reward
    The moderately arresting Risk/Reward suffers from a lack of resources and is writ small, suggesting that it may play better on television.
  4. Confessions of a Burning Man
    Too lazy and too loosely structured to accomplish much besides conveying some vivid physical impressions. There is no narrator, and the structure that exists is clouded by the new-age mumbo-jumbo of eight principal commentators.
  5. Alila
    The movie...tries to juggle too many characters at once (its title means "story plot" in Hebrew), and in several cases their connections aren't adequately explained.
  6. The Passion of the Christ
    On its own, apart from whatever beliefs a viewer might bring to it, The Passion of the Christ never provides a clear sense of what all of this bloodshed was for, an inconclusiveness that is Mr. Gibson's most serious artistic failure.
  7. Our Father
    Poignant though it is, the movie is the opposite of depressing. There is too much life in it.
  8. Teknolust
    A minor addition to the tiny genre of feminist science fiction films
  9. Big Animal
    Mr. Stuhr, an actor who worked frequently with Kieslowski and who plays the main character in this film, honors his old friend's memory, producing a minor but nonetheless charming footnote to his oeuvre.
  10. Against the Ropes
    Some of the performances show flashes of idiosyncrasy and flair that are nearly snuffed out by the pedestrian script.
  11. Clifford's Really Big Movie
    Will provide preschoolers with comfort and amusement, though not rapture or enchantment.
  12. EuroTrip
    The mildly xenophobic humor includes one of the few inventive mime insults seen in a movie; Eurotrip may be stupid, but it's not dumb.
  13. Confessions of a Teenage Drama Queen
    Modest, mildly engaging film.
  14. Kitchen Stories
    His painstakingly coordinated scenes and exquisitely timed takes are the filmmaking equivalent of wringing every single use from a paper towel and then folding it before disposal.
  15. Welcome to Mooseport
    A terminally mild attempt to revive the populist political comedy pioneered by Frank Capra in the 1930's.
  16. Crying Ladies
    Its most winning attribute is a kind of sloppy, unassuming friendliness, a likability aptly reflected in its characters.
  17. Lost Boys of Sudan
    Getting an audience so caught up is no small feat; it is a tribute to the directors' storytelling.
  18. After the Life
    Mr. Belvaux's sensitive, generous way with actors suggests that, with more discipline and less gimmickry, he might have made a single masterwork, and After the Life provides the best support for this assessment.
  19. Charlie: The Life and Art of Charles Chaplin
    Very much a writer's film: Mr. Schickel's elegant, occasionally knotty prose, read by Sidney Pollack, offers a clear, nuanced interpretation of the artist's work in relation to his life.
  20. The Code
    Probably should have stayed on a shelf back in Paris.
  21. The Seagull's Laughter
    Mr. Gudmundsson has created a sleek, light and entertaining work, with a few contrasting pockets of darkness and mystery.
  22. Love Object
    The modestly assembled Love Object... is only periodically derailed by its tone; Mr. Parigi sometimes overplays the humor in the midst of all the deadpan.
  23. 50 First Dates
    The unlikely sweetness of the story carries the day. What is most astonishing is the confidence with which the filmmakers push their premise to its logical conclusion, turning an ending that could have been either laughable or appalling into something so effortlessly heartfelt as to be nearly sublime.
  24. Robot Stories
    The most startling aspect of Robot Stories is not the mix that the director built from spare parts left on the curb but the evolving dramatic acumen of its maker; he's a talent with a future.
  25. An Amazing Couple
    Some of the scenes are like mislaid puzzle pieces, and they snap into place only when all three movies have been seen and absorbed. This makes watching any one of the episodes both more interesting and more frustrating than it might otherwise be, since a portion of dramatic satisfaction is always withheld.
  26. Osama
    Osama's unvarnished vulnerability, along with the director's combination of tough-mindedness and lyricism, prevents the movie from becoming at all sentimental; instead, it is beautiful, thoughtful and almost unbearably sad.
  27. The Lost Skeleton of Cadavra
    The question remains: why work so hard to make something deliberately bad, when the world is hardly running a shortage of mediocre movies?
  28. Miracle
    Does a yeoman's job of recycling the day-old dough that passes for its story.
  29. Barbershop 2: Back in Business
    Given the stature and the presence that the entrepreneurial rappers-turned-film-moguls Ice Cube and Queen Latifah possess, the fizzle of their scenes is doubly disappointing.
  30. Catch That Kid
    Mr. Freundlich's naturalistic sensibility gets in the way of the film's broad fantasy elements, turning what might have been a stylized romp like Robert Rodriguez's "Spy Kids" into something a little too real for comfort.
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