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. The Crocodile Hunter: Collision Course
    A curiously thrilling and often hilarious experience.
  2. Tosca
    For the most part, it works beautifully as a movie without sacrificing the integrity of the opera.
  3. Reign of Fire
    Loads of fun. It has a jamming B-picture buzz -- the kind of swift filmmaking and high spirits that have been missing from movies for a while.
  4. Sex and Lucia
    Both refreshing and confusing, the film equivalent of an ice cream headache.
  5. Never Again
    The movie, like its lovers, is really two films smushed together in the faint hope that sheer incongruity can grind out laughter.
  6. Halloween: Resurrection
    Spectators will indeed sit open-mouthed before the screen, not screaming but yawning.
  7. Road to Perdition
    A truly majestic visual tone poem.
  8. Last Dance
    One of the thrills of the movie is watching the improvisatory trial-and-error process as the dancers explore psychological themes, contorting their graceful, amazingly limber bodies into visual representations of relationships and emotional states.
  9. Ziggy Stardust and the Spiders from Mars
    It is billed as a "restored version," though the sound is still fuzzy and the image only occasionally rises to the level of murk.
  10. Presumed Guilty: Tales of the Public Defenders
    Makes compelling viewing. But it is viewing of an eerily familiar kind, almost as if the real-life lawyers in the film had patterned themselves on television archetypes.
  11. Rocco and His Brothers (re-release)
    Neither the neighborhood intimacy of "Mean Streets" nor the grandeur of the "Godfather" movies is imaginable without Visconti's example. Its richness, though, is inexhaustible, and well served by the spotless new 35-millimeter print being shown at Film Forum.
  12. Me Without You
    Under its drab contemporary trappings, the movie, is really a Jane Austen-like moral parable in which goodness is rewarded and selfishness punished.
  13. Read My Lips
    Like so many European pictures these days, Read My Lips seems destined to be remade in Hollywood, and it is unlikely to be improved by the addition of vainer actors, a simpler screenplay and flashier direction.
  14. Group
    It is all a contrivance; the cast and filmmakers were under the delusion that putting unhappy women in a room would lead to drama.
  15. Tattoo Bar
    The problem with the baroque and overripe Tattoo Bar is that everybody has a past. And there's so much crosscutting to those pasts in flashbacks, it's hard to keep track of whose past you're witnessing.
  16. Like Mike
    The director's breezy steadiness keeps the movie from hitting us over the head -- well, not too hard, anyway, no small feat since the steroid-juiced sentimentality of the ending may force some to flee before the outtakes unspool under the credits.
  17. Men in Black II
    As fizzy as the first, but not quite as refreshing. The pleasurable, eye-popping sense of surprise has diminished, and the teasingly referential attitude shows signs of fatigue.
  18. Songs from the Second Floor
    A heartbreakingly thoughtful minor classic, the work of a genuine and singular artist.
  19. The Powerpuff Girls
    What's really so appealing about the characters is their resemblance to everyday children. They're wildly energetic, competitive and (sometimes dangerously) impulsive. But they also learn from their mistakes, and their instincts are good. More power to them.
  20. Lovely & Amazing
    Holofcener's smart, acidic comedy Lovely and Amazing zeroes in on contemporary narcissism and its fallout with a relentless, needling accuracy.
  21. The Cockettes
    Revisits the San Francisco of the late 1960's and early 70's, a time and place so encrusted with legend and cliché that you might wonder if there is anything left to say. It turns out there is quite a lot -- which the filmmakers have brought triumphantly to life.
  22. Notorious C.H.O.
    Brilliant, over-the-edge concert film Notorious C.H.O. carries candid sexual humor into previously uncharted territory.
  23. Hey Arnold! The Movie
    Blown up way past television-set size, the animated film's squiggly lines and rushed renditions are pale and blurry. This may be the first cartoon ever to look as if it were being shown on the projection television screen of a sports bar.
  24. Harvard Man
    Mr. Toback uses his improbable, conventional story as the trelliswork for a series of wild and florid riffs about sex, ethics and the delirium of renegade moviemaking.
  25. Pumpkin
    The filmmakers try to balance pointed, often incisive satire and unabashed sweetness, with results that are sometimes bracing, sometimes baffling and quite often, and in unexpected ways, touching.
  26. Mr. Deeds
    Mr. Deeds is mostly terrible, a shambles of a comedy that looks as if it was shot by a tabloid news crew.
  27. Money Buys Happiness
    About 20 minutes in, it is clear that the couple will emerge as nothing more than crabby yuppies whose articulation of their pouts sounds like the same argument over and over again.
  28. Bobby G. Can't Swim
    Whenever the picture tries to be about something bigger, it turns predictable or maudlin or, in a few sad instances, both simultaneously.
  29. Juwanna Mann
    But even though, most of the time, you know exactly what will happen next -- you don't much mind. Nor do the many plot holes and improbabilities -- undermine its silly, raucous spirit.
  30. Mr. Smith Gets a Hustler
    Instead of deepening the material, however, the narrative twists feel like purely formal interventions, intended to keep the film moving toward its foregone, heavily moralistic conclusion. Mr. Smith Gets a Hustler is faultlessly professional but finally slight.
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