The New York Times' Scores

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For 20,313 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: 9,401 out of 20313
  2. Mixed: 8,446 out of 20313
  3. Negative: 2,466 out of 20313
20313 movie reviews
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  1. 7 Year Zig Zag
    Quickly moves beyond the oppressive into the cruel and unusual.
  2. Demonlover
    The entrancing visual imagery goes a long way toward filling in the screenplay's gaps in logic.
  3. Tibet: Cry of the Snow Lion
    A more concise and affecting summation of the Tibetan crisis would be hard to imagine.
  4. Cold Creek Manor
    The movie ultimately belongs to Mr. Dorff, whose villain is as frightening as any human reptile to have slithered onto the screen in quite some time.
  5. Mambo italiano
    As Angelo, Mr. Kirby has a boyish charm, which is probably the best that can be said for this film as well.
  6. In This World
    If there is heartbreak in this movie, there is also a sense of energy that makes it almost exhilarating.
  7. Anything Else
    Small-scale and loose. It feels oddly long for a Woody Allen picture, but its relaxed, casual air gives the humor room to breathe, and a gratifyingly high proportion of the piled-up one-liners actually raise a laugh.
  8. Casa de los babys
    Some of the pieces in its jigsaw puzzle are too fragmentary, and there's a sense of racing against time to fill in the blanks. Yet the movie's even-handed portrayal of two cultures uneasily transacting the most personal business resonates with truth.
  9. To Be and to Have
    The interest of To Be and to Have, though, is not sociological: it is not really about the French educational system, rural life or even the way children learn. It is, rather, the portrait of an artist, a man whose work combines discipline and inspiration and unfolds mysteriously and imperceptibly.
  10. Secondhand Lions
    May be pure hokum, but at least it knows how to spin a yarn.
  11. The Fighting Temptations
    This movie feels phony and slick, as if it were cooked up by Darrin's cynical ad agency, rather than at his aunt's stove down in Montecarlo.
  12. Underworld
    Achieves only loudness, aggressive confusion and one of the silliest head-splittings in film history.
  13. Emerald Cowboy
    Though Mr. Hayata seems convinced that he is a colorful, romantic figure, the movie itself is crushingly mundane and unlikely to attract any audience beyond close relatives.
  14. Millennium Actress
    To watch Millennium Actress is to witness one cinematic medium celebrating another, an expression of movie love that is wonderfully eccentric and deeply affecting.
  15. Dummy
    A mildly engaging addition to that curious sub-genre of American independent filmmaking, the whimsical comedy of Long Island alienation.
  16. Luster
    Relentlessly bright and superficial, even when the subject turns to self-destruction.
  17. So Close
    With the exception of some of the battles, which have the angry desperation of Mr. Yuen's inspired martial-arts choreography, Close is a nominal effort.
  18. Matchstick Men
    Both entertaining and empty: an emotional shell game that leaves you feeling cheated even though, on the surface at least, everyone is a winner.
  19. Cabin Fever
    Sustains such a palpable mood of foreboding until the end.
  20. Lost in Translation
    Here he (Murray) supplies the kind of performance that seems so fully realized and effortless that it can easily be mistaken for not acting at all.
  21. Once Upon a Time in Mexico
    The only thing missing is a coherent story -- or even, for that matter, an interesting idea for one.
  22. Warrior of Light
    It would be foolish for a middle-class do-gooder confronting homeless children on the streets of Rio de Janeiro to expect conventional morality to have any meaning to them at all. That's one of the blunt, no-nonsense observations of Yvonne Bezarra de Mello, the Brazilian human rights activist profiled in Monika Treut's hard-headed documentary.
  23. The Same River Twice
    A piercingly poignant then-and-now portrait of five friends.
  24. Where's the Party Yaar?
    Clearly understands its target audience of first-generation Indian-Americans and has its pleasures to provide.
  25. Carnage
    Ms. Gleize, through a series of oblique, half-comic scenes and meticulous, rhyming visual compositions, offers up an elegant, discursive essay on carnality and carnivorousness -- on sex, death, meat and the ravening hunger for companionship.
  26. The Order
    A murky ecclesiastical horror film, may be the nadir of the subgenre that produced "The Exorcist" (at its high end) and "Stigmata" (at its middle-to-low end).
  27. Home Room
    The lead performances of Home Room go a long way toward camouflaging the severe flaws of this exceedingly earnest movie.
  28. Party Monster
    His (Culkin's) performance is earnest and brave, but also mannered when it should be un-self-conscious, and awkward when grace is called for.
  29. Dickie Roberts: Former Child Star
    Maintaining a winking distance from his comic persona, Mr. Spade radiates a cunning show-business cynicism that lets you know he's aware that he's slumming to make a buck.
  30. Taking Sides
    Sparked by the actors' powerful performances, Arnold's moral absolutism and Furtwängler's lofty aestheticism make for a dramatically compelling clash.
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