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. Dragonfly
    As the movie dragged on, I thought I heard a mysterious voice, and felt myself powerfully drawn toward the light -- the light of the exit sign. I have returned from the beyond to warn you: this movie is 90 minutes long, and life is too short.
  2. Queen of the Damned
    "Queen" is a movie that stoops to jokes like calling Lestat's CD "a monster hit"; the movie is just a plain old monster.
  3. Return to Never Land
    If Return to Never Land -- doesn't have a story to match the original's in breadth and imagination, it does a smooth job of recycling its characters and themes.
  4. Scratch
    Dense, exhilarating.
  5. The Last Man
    Feels more like a thought experiment than a fully developed story.
  6. Wendigo
    For those in search of something different, Wendigo is a genuinely bone-chilling tale.
  7. Hart's War
    Wants to be everything and adds up to nothing. "War" is a film that tries to excel on several levels and falls flat on all of them.
  8. Crossroads
    Everything she (Spears) does seems diluted and secondhand and is never transformed into something original or indelibly self-expressive.
  9. Super Troopers
    Bad and tasteless. You laugh neither with it nor at it but rather sit counting the minutes while the movie laughs, for no good reason, at itself.
  10. John Q
    So lacking in shame that it finally seems laughable.
  11. Much Ado About Something
    An inviting piece of film. Mr. Rubbo's cast of characters have the charisma of true devotees and stoked egos that match their intentions.
  12. Scotland, Pa.
    Too leisurely paced and visually drab for its own good, it succeeds in being only sporadically amusing.
  13. Rollerball
    The current version, however, like its predecessor, fails as entertainment. Mr. McTiernan's remake may be lighter on its feet -- the sober-minded original was as graceful as a tap-dancing rhino -- but it is just as boring and as obvious.
  14. Big Fat Liar
    If Ms. Bynes keeps going in this direction, she can conceivably develop a gallery of characters as rich and varied as Tracey Ullman's.
  15. Collateral Damage
    Manages to squeeze in several different endings — like a bad pop song that doesn't know when to fade out. But as Mr. Schwarzenegger's stature as an action figure diminishes, his effort to retain a piece of the market is touching.
  16. Swiri
    Mr. Kang is a gifted choreographer of bloody chaos, but he has enough range and imagination to strew a few interludes of haunting tenderness amid the shell casings and ketchup packs.
  17. Birthday Girl
    This breathless demi-noir has so much bounce that we barely get any time to mull over the gaping holes in its moth-eaten plot. It is competent but extremely slight.
  18. A Rumor of Angels
    As A Rumor of Angels reveals itself to be a sudsy tub of supernatural hokum, not even Ms. Redgrave's noblest efforts can redeem it from hopeless sentimentality.
  19. Slackers
    So lazy and slipshod it confuses the mere flashing of kinky soft-core imagery with naughty fun.
  20. Loners
    With its studied nonchalance, Loners reaches neither the hilarity of an episode of "Friends" nor the ethnographic stickiness of "The Real World" on MTV.
  21. Domestic Violence
    The picture itself is about, yes, cycles, and as tiresome as that sounds, 10 minutes into the film you'll be white-knuckled and unable to look away.
  22. Waydowntown
    A smart, sardonic satire.
  23. Maelstrom
    Probably the first romantic drama ever narrated by a smelly dead fish.
  24. The Son's Room
    The movie's rejection of even a tinge of melodrama lends it a special integrity.
  25. The Mothman Prophecies
    About as threatening as the real-life insect the apparition resembles; its large, mossy wings may scare some people, but the bug can only damage your woolens. The movie flirts with more damage than it can actually cause.
  26. Wannabes
    Doesn't really know how to end. But if its melodramatic final moments are ludicrous, they don't seriously dilute the acidity of the sour little swatch of urban sociology that has come before.
  27. Hey, Happy!
    The film feels too formulaic and too familiar to produce the transgressive thrills of early underground work.
  28. Metropolis
    A hallucinatory tour de force of color, perspective and scale, virtually encapsulates the history of Japanese animation.
  29. Storytelling
    The most pleasing paradox in Storytelling -- a determinedly paradoxical and, in spite of much of what I've said here, a genuinely pleasing movie -- is that it sets out to debunk this notion and ends up affirming it.
  30. The Count of Monte Cristo
    The film's resolute indifference to fashion makes it, perhaps paradoxically, a refreshing piece of old-style entertainment, accompanied by a whooshing, trembling score by Edward Shearmur.
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