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. XX/XY
    A sour portrait of Gen X yuppies who settle for adult lives that appear at once soulless and overprivileged.
  2. Better Luck Tomorrow
    Mr. Lin makes the anxious grasping of these kids for some kind of emotional turf -- their own need to shatter the stereotypes that bind them -- the heart of Better Luck Tomorrow, a scenario that keeps the movie's blood racing.
  3. Ghosts of the Abyss
    Whether he's working in nonfiction or science fiction, Mr. Cameron remains an artist of great instinctive power. In Ghosts of the Abyss, he uses every means of probing that modern science has put at his disposal -- electronic, mechanical, sonic -- only to find that the tragic reality of the Titanic, its myths and its meanings, remain tantalizingly beyond his reach.
  4. Anger Management
    Undercooked, although it feels enough like a comedy for you to swallow it if you have to.
  5. House of 1000 Corpses
    As much as film buffs might enjoy recognizing references to "Motel Hell" and other drive-in classics, Mr. Zombie's encyclopedic approach to the genre results in a crowded, frenzied film in which no single idea is developed to a satisfying payoff.
  6. Marion Bridge
    Remarkable for its seamless ensemble performances.
  7. DysFunktional Family
    There is a blueprint here for what should be the next wave of comedy-concert movies, but the filmmaking team has only used part of it.
  8. The Man Without a Past
    Like the great films of the 1930's and early 40's, it is at once artful and unpretentious, sophisticated and completely accessible, sure of its own authority and generous toward characters and audience alike -- a movie whose intended public is the human race.
  9. Phone Booth
    Bogus on every level, right down to its half-hearted trick ending.
  10. Manna from Heaven
    A product neither of Hollywood nor the New York-Sundance indie axis, Manna From Heaven is a true outsider film, and while it would be easy to fault its lack of technical polish, somewhat discursive script and uneven performances, it is also refreshingly sincere, gentle and good-natured.
  11. Investigation of a Citizen Above Suspicion [re-release]
    Although Mr. Petri quite consciously makes movies about ideas, he has, in his "Investigation," made a movie in which the ideas, and the man who seethes with them, have the shock and impact of the most fundamental kind of melodrama.
  12. What a Girl Wants
    Minnelli's comedy had its serious underpinnings: by the end of the film, a girl had become a woman. By the end of Ms. Gordon's film, the girl is still a girl, but a girl with much cooler stuff, including a stately home, a butler and a cute British boyfriend.
  13. Levity
    The actors, too, bring more realism -- more gravity, if you will -- to the film than its wobbly premise deserves.
  14. A Man Apart
    A series of gun battles follow, none staged with quite enough verve or imagination to break through the pervasive torpor.
  15. Cowboy Bebop the Movie: Knockin' on Heaven's Door
    Notable chiefly for its eye-catching urban backgrounds and an eclectic score that ranges from jazz and country to classical and choral.
  16. Cet amour-là
    Ms. Moreau, still an imperious presence at age 75, makes no effort to look or sound like Duras -- this is one sacred monster stepping in for another.
  17. Fellini: I'm a Born Liar
    Mr. Pettigrew's affection for Fellini and his films animates this documentary and limits its appeal.
  18. The Good Thief
    The ultimate caper, a work of brazen ebullience.
  19. Stevie
    Because Stevie has none of the glamour of "Hoop Dreams," with its portrait of gifted teenage athletes struggling for glory, it is not nearly as likable a film; but in its earnest, plodding way it is every bit as deep.
  20. Assassination Tango
    If Mr. Duvall's finely textured performance is a testament to the power of good screen acting to lift a film above the mundane, the movie's many irritating tics demonstrate that he is much more at home in front of the camera than behind it.
  21. The Core
    The cast of The Core deserve Oscar nominations just for being able to speak most of the lines without succumbing to the chortles.
  22. Head of State
    The very confusion that has made him (Rock) so unpredictable and funny onstage makes this on-screen exploration of contemporary racial mythologies curiously tentative and unfocused.
  23. Raising Victor Vargas
    Delicate and altogether satisfying romantic comedy.
  24. Basic
    You might be tempted to say, "Huh?" Or, if you're in the theater, to leave. But wait -- there's less.
  25. Unknown Pleasures
    Perhaps the world doesn't need another picture on disaffected youth, but Pleasures is about more than alienation.
  26. Piglet's Big Movie
    In the knockabout world of animated movies, Piglet's Big Movie is an oasis of gentleness and wit.
  27. Chuen jik sat sau
    Perhaps the directors are under the delusion that the dodging and leaping can make up for an ending that leaves the cast members of "Killer" adrift and nearly scratching their heads in puzzlement.
  28. Down and Out with the Dolls
    The results suggest a slightly more ribald version of "Josie and the Pussycats."
  29. Boat Trip
    If Boat Trip were screened on a cruise ship, most of the passengers would be dog-paddling back to shore.
  30. Gaudi Afternoon
    What should be a soufflé of gender-bending mischief is more like a bowl of oatmeal.
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