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. Alex & Emma
    There's so little chemistry between Mr. Wilson and Ms. Hudson that you begin to look back on what now seems like the halcyon time of "How to Lose a Guy in 10 Days."
  2. Hulk
    The movie is bulky and inarticulate, leaving behind a trail of wreckage and incoherence.
  3. From Justin to Kelly
    They play cotton candy effigies of themselves named Kelly and Justin, and the best that can be said is that they don't embarrass themselves.
  4. Manito
    Though a dramatic (even melodramatic) narrative eventually takes shape, what you remember is the succession of moods and observations through which it emerges.
  5. The Hard Word
    Amusingly gamy, an anecdotal crime film that's an antidote to the pile of overly slick robbery pictures of the past few years.
  6. Pistol Opera
    Insanely likable but suffers from anemia.
  7. The Nazi Officer's Wife
    Packed with revelations and withheld information that comes to life; it is like an old movie castle full of false fireplaces and trap doors.
  8. Jet Lag
    A peppy romantic trifle from France that rises above the mundane on the strength of its beautifully detailed lead performances.
  9. The Heart of Me
    The end product suggests tepid, bottom-drawer Merchant-Ivory in which the emotions rarely catch fire.
  10. Hollywood Homicide
    He (Ford) slips into the role as if it were a pair of well-worn loafers, the left inherited from Peter Falk, the right from Clint Eastwood, and then proceeds, with wry nonchalance, to tap-dance, shuffle and pirouette through his loosest, wittiest performance in years.
  11. Rugrats Go Wild
    There is little here to hold the attention of anyone older than 9. For families in search of entertainment, it may be time to find Nemo again.
  12. Tycoon: A New Russian
    For all its energy and fine acting, Tycoon has a frustrating lack of narrative coherence.
  13. Dumb and Dumberer: When Harry Met Lloyd
    While "Dumb and Dumber" possessed a bracing, genuine vulgarity, this new film is more often merely disgusting as it piles up jokes involving various bodily discharges and the unpleasant things that can be done with them.
  14. Love the Hard Way
    Loses tension (and ultimately credibility) as it wanders through three possible endings before grinding to a halt.
  15. The Eye
    Rarely has the basic nature of visual perception seemed so frightening.
  16. 2 Fast 2 Furious
    Unfortunately, all of these supremely expressive vehicles come equipped with drivers, principally a pair of crash-test dummies played by Paul Walker and Tyrese, whose low-gear dialogue makes the whine of engines sound like the highest poetry.
  17. Whale Rider
    Wickedly absorbing.
  18. Garmento
    Although Garmento exhibits a flailing comic energy, its eagerness to condemn everything about Seventh Avenue, along with its sub-par acting and a choppy narrative style that finally runs amok, lends it a tone of hysterical finger-pointing.
  19. The Weather Underground
    This terrifically smart and solid piece of filmmaking lets the former Weathermen, now in their 50's and older, speak into the camera and reveal a bit of their personal histories as well as what the peace movement meant to them.
  20. Controlled Chaos
    As a movie, Controlled Chaos is often bumpy, naïve and erratically acted.
  21. The Three Marias
    Its emotional climate is too extreme to invite identification, and its characters are too single-minded in their revenge to evoke pity, terror or even much interest.
  22. The Era of Vampires
    Murky, third-rate martial-arts film.
  23. Together
    Together may not be overtly political, but its vision of contemporary Beijing, where brazen, fashion-crazed gold diggers like Lili bait their hooks to snare arrogant, slippery wheeler-dealers who end up playing her for a sucker, has bite.
  24. The Italian Job
    Feels a like smooth, exciting whoosh down a ski slope.
  25. Wrong Turn
    Lazy would-be horror film.
  26. Capturing the Friedmans
    Mr. Jarecki finds a way to show that denial and hope often grow from the same vine. Lives are built around the way they're harvested -- and this talented director has a feel for the soil.
  27. Finding Nemo
    The humor bubbling through Finding Nemo is so fresh, sure of itself and devoid of the cutesy, saccharine condescension that drips through so many family comedies that you have to wonder what it is about the Pixar technology that inspires the creators to be so endlessly inventive.
  28. The In-Laws
    It's as if the director, Andrew Fleming, and the screenwriters, Nat Mauldin and Ed Solomon, set out to make a movie that would be mediocre in every respect. If so, they have completely succeeded.
  29. That's My Face
    This is fundamentally a recruiting film whose intent is to interest other African-Americans in exploring their spiritual traditions. It displays no real curiosity about its subject except to insist that it is the true path to enlightenment. Mr. Harris's stylistic gifts are quite evident; his reportorial instincts are a bit more muffled.
  30. Gigantic (A Tale of Two Johns)
    Gigantic has the informal tone and structure of an illustrated scrapbook with excerpts from concert and television performances interwoven with lighthearted testimonials by friends, supporters, collaborators and admirers and augmented by witty animated segments.
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