The New York Times' Scores

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For 20,311 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: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
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  1. Chasing Amy
    Smith's knowing humor and unruffled style make a good antidote to gender chaos. Music by David Pirner contributes to the film's loose, inviting mood.
  2. Narc
    Narc is convincing, an entertaining, grimy view of the traps of machismo tucked inside a cop thriller.
  3. Waiting for Guffman
    The don't quite do for "Oklahoma!" what they did for heavy metal, but they come close. [31 Jan 1997, p.C6]
  4. Shanghai Knights
    With Shanghai Knights, he (Chan) has come through with one of his best. This time, it's personable.
  5. Songs from the Second Floor
    A heartbreakingly thoughtful minor classic, the work of a genuine and singular artist.
  6. The Iron Giant
    A smooth, skilled example of animated filmmaking.
  7. We Were Soldiers
    Like the best war movies -- and like martial literature going back to the Iliad -- it balances the dreadful, unassuageable cruelty of warfare and the valor and decency of those who fight.
  8. Burnt Money
    The passions of "Plata Quemada" are as bold as the images.
  9. Love and Death on Long Island
    John Hurt is simply wonderful -- acerbic, funny and heartbreaking.
  10. Father and Son
    Like a dream within a dream. Its images and emotions are vivid, disquieting and also hermetic, and while it may frustrate your desire for clear storytelling and psychological transparency, it has an intensity that surpasses understanding.
  11. I'm Not Scared
    Although the movie takes on many of the characteristics of a conventional thriller, it refuses to go for cheap, vicious shocks, and the adults are seen through the curtain of Michele's trust.
  12. Fade to Black
    Even if the film could use some trimming, its hip-hop splendor proves hype-worthy.
    • 91 Metascore
    • 80 Critic Score
    On the Waterfront
    Moviemaking of a rare and high order. (Review of Original Release)
  14. The Bourne Identity
    The Bourne Identity, like its hero, triumphs through sheer unreflective professionalism. It is, by today's standards, a modest thriller, with a self-contained storyline and with very few big special effects.
  15. White Oleander
    The accumulation of sharp candid flashes adds up to a disturbing vision of Los Angeles as a teeming jungle of dysfunction.
  16. Amadeus
    Mr. Forman has preserved the fascinating heart of Mr. Shaffer's play, and made it available to millions who might never enter a legitimate theater. Well done.
  17. The Dreamers
    The Dreamers, which is disarmingly sweet and completely enchanting, fuses sexual discovery with political tumult by means of a heady, heedless romanticism that nearly obscures the film's patient, skeptical intelligence.
  18. Magnolia
    It's astonishing to see a film begin this brilliantly only to torpedo itself in its final hour.
  19. Cast Away
    At its best, Cast Away, like "Titanic," awes us with its sheer oceanic sweep and its cosmic apprehension of human insignificance.
  20. Voices of Iraq
    If this film cannot claim to represent the political "truth" about the war - what film could? - it certainly provides a broad glimpse of daily life in Iraq.
  21. The Usual Suspects
    Goes straight to cult status without quite touching one important base: the audience's emotions. This movie finally isn't anything move than an intricate feat of gamesmanship, but it's still quite something to see.
  22. Bright Future
    Casts its spell by drawing out the horror of everyday existence bit by bit, and then tossing in some otherworldly weirdness that makes the hair on the back of your neck try to run for cover.
  23. The Godfather: Part III
    One of this film's greatest accomplishments is its making an audience believe that the Corleones and their various partners in crime have been entirely in character during the intervening decades, but have simply neglected to turn up on screen.
  24. Elephant
    By making the camera an observer, we get a perspective that often comes out of horror movies, a choice that whips the ordinary with the terrifying, an unforgettable mix.
  25. Independence Day
    Two reasons it's impossible to resist "Independence Day": because of its pitch-perfect cartoonish dialogue ("Now you're never gonna get to fly the space shuttle if you marry a stripper!") and because the Captain, like Indiana Jones, is so unflappably tough.
  26. The Mother
    The screenplay bluntly faces anxieties of aging that are rarely voiced in the movies, and it is too hard-headed to offer comfy palliatives.
  27. Star Wars: Episode IV - A New Hope
    Everyone treats his material with the proper combination of solemnity and good humor that avoids condescension. One of Mr. Lucas's particular achievements is the manner in which he is able to recall the tackiness of the old comic strips and serials he loves without making a movie that is, itself, tacky.
  28. Woman Thou Art Loosed
    Never backing off from big, emotional moments, but also fleshing out the necessary transitions between them, he has realized his finest movie. It's a renaissance for Mr. Schultz, who seems to be speaking with his own voice after all these years.
  29. Gods and Monsters
    What especially elevates it is the razor-sharp cleverness of McKellen's performance, which brings unusual fullness and feeling to a most unusual man.
  30. Fear and Trembling
    Mr. Corneau, an eclectic director with a mildly perverse sensibility, turns the conflict of cultures into a psychodrama that is at once lighthearted and intense.
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