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. Strayed
    It begins with a montage of devastating black-and-white news clips interwoven with flashes of the flight of a terrified young widow and her two children. After that, the movie softens somewhat, but it never succumbs to sentimentality.
  2. Elizabeth
    This Elizabeth is presented as a glamorously stressed-out modern woman who must cope with a super-intense case of having it all.
  3. Full Metal Jacket
    No one who sees Full Metal Jacket will easily put the film's last glimpse of D'Onofrio, or a great many other things about Kubrick's latest and most sobering vision, out of mind.
  4. The Night Larry Kramer Kissed Me
    Mr. Drake can be rivetingly angry, intense, frenetic, frank and touching.
  5. Something's Gotta Give
    Nobody else working in movies today can make her (Keaton) own misery such a source of delight or make the spectacle of utter embarrassment look like a higher form of dignity.
  6. Springtime in a Small Town
    As Mark Li Ping-bing's beautiful cinematography observes the change of season, the movie becomes a broader meditation on rebirth, and how, in the language of T. S. Eliot, April, the month that stirs such hopes for the future, is also "the cruellest month" for awakening such keen desire.
  7. Oasis
    The remarkable if overlong Korean film Oasis strips away much of the sentimentality and goody-two-shoes attitudes that the movies traditionally display toward disabled people.
  8. Jandek on Corwood
    A canny look at both sides of a musical experiment. Jandek plucks out his atonal efforts, and the record-store obsessives speculate about every subtlety.
  9. Intermission
    Altogether compelling.
  10. Ali
    We see the movie levitate when Ali and Brown chant, "Float like a butterfly," the slogan that takes on a different meaning in each context, starting off as hopeful and spry, finally becoming rueful and pointed. When the film pulls off moments like these, it's breathtaking -- a near great movie.
  11. The Barbarian Invasions
    The rapprochement between Rémy and Sébastien is beautiful to watch, and all of the characters in The Barbarian Invasions are played with a lusty warmth that makes them lovable even when they are being tiresome.
  12. Tokyo Godfathers
    For all its echoes of Frank Capra and Charlie Chaplin (as well as Ford), the movie is also a love letter to modern Tokyo, whose alleyways and skyscrapers are drafted with flawless precision and tinted with tenderness and warmth.
  13. Purple Butterfly
    Mr. Lou synthesizes a wide range of styles and influences - from "Casablanca" to Wong Kar-wai - resulting in a movie that, for all its haunting strangeness, seems curiously familiar.
  14. American History X
    An inflated yet gut-slugging film.
  15. New Waterford Girl
    A freshness and intensity that recall the television series "My So-Called Life."
  16. Working Girl
    Working Girl is enjoyable even when it isn't credible, which is most of the time. The film, like its heroine, has a genius for getting by on pure charm.
    • 73 Metascore
    • 80 Critic Score
    Not One Less
    A splendid, assured piece of storytelling.
  18. The Road Home
    A cinematic ballad of such seamless construction and exquisite tonal balance it transcends most of the pitfalls of movies that aspire to a classic, lyric simplicity.
  19. Happy Times
    A wise, gentle and sad new comedy by Zhang Yimou.
  20. Girlfight
    The movie belongs to Ms. Rodriguez. With her slightly crooked nose and her glum, sensual mouth, she looks a little like Marlon Brando in his smoldering prime, and she has some of his slow, intense physicality. She doesn't so much transcend gender as redefine it.
  21. Shadow of the Vampire
    At once wildly metaphorical and distressingly literal-minded, Shadow of the Vampire tries, with mixed success, to be scary, funny and profound all at once.
  22. Lethal Weapon 4
    The characters remain funny and likable, and they all live on Earth.
  23. Fierce Creatures
    The real fun here comes from watching Mr. Kline bounding through two archly good performances, Mr. Cleese coming hilariously unstrung in the presence of Ms. Curtis and all those adorable animals.
  24. Liar Liar
    Two little words: Jim Carrey. That's all it takes to transform Liar Liar from a formulaic Hollywood comedy into an uproarious one-man free-for-all.
  25. Jaws
    If you think about Jaws for more than 45 seconds you will recognize it as nonsense, but it's the sort of nonsense that can be a good deal of fun, if you like to have the wits scared out of you at irregular intervals.
  26. Promises
    Demonstrates the unusual power of thoughtful, subjective filmmaking.
  27. The Saddest Music in the World
    Like most great musicals, though, this one slides, with breathtaking ease, from silliness to pathos and freely mixes exquisiteness and absurdity.
  28. True Romance
    A vibrant, grisly, gleefully amoral road movie.
  29. Birth
    Without Ms. Kidman's brilliantly nuanced performance, Birth might feel arch, chilly and a little sadistic, but she gives herself so completely to the role that the film becomes both spellbinding and heartbreaking, a delicate chamber piece with the large, troubled heart of an opera.
  30. Scream 3
    Funny and brisk, with enough good lines to make the comedy more satisfying than the somewhat routine but still unsettling jolts to the spine.
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