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. Unstrung Heroes
    A warm, surprising, gently incandescent film that discreetly describes a family tragedy.
  2. Cronos
    This film's reflective, even stately style elevates it from the ranks of ordinary stake-through-the-heart vampire dramaturgy, turning it into something much more exotic.
  3. Hair
    A rollicking musical memoir, as much a recollection of the show as of the period, a film that has the charm of a fable and the slickness of Broadway show biz at its breathless best.
  4. Against All Odds
    Against All Odds is so lively and enjoyable on its own terms that its genre problems, while real, are easily overlooked. Mr. Hackford's brand of glossy, romantic escapism doesn't have to work as an homage. It has a vitality of its own.
  5. Swimming to Cambodia
    Mr. Gray's feature-length monologue brings people, places and things so vibrantly to life that they're very nearly visible on the screen.
  6. Happy Together
    Stylistically brash, pulsing with life.
  7. The Bostonians
    The moral ambiguity of James's novel has been skillfully captured in the film, as has its remarkable modernity.
  8. Last Tango in Paris
    Bernardo Bertolucci's Last Tango in Paris is a beautiful, courageous, foolish, romantic, and reckless film.
  9. The Shining
    Meticulously detailed and never less than fascinating, The Shining may be the first movie that ever made its audience jump with a title that simply says "Tuesday."
  10. The Dead Zone
    A well-acted drama more eerie than terrifying, more rooted in the occult than in sheer horror.
  11. Drugstore Cowboy
    Drugstore Cowboy, Gus Van Sant Jr.'s glum, absorbing film about a clan of heroin addicts who travel around the Pacific Northwest Looting pharmacies of their supplies the way Bonnie and Clyde cleaned out banks, gives Matt Dillon the role of his career.
  12. Silverado
    Silverado is sufficiently modern to make its landscapes bigger, its people smaller and its moral polarities less powerfully distinct than those of simpler, more starkly beautiful westerns gone by.
  13. Gallipoli
    Mr. Weir's work has a delicacy, gentleness, even wispiness that would seem not well suited to the subject. And yet his film has an uncommon beauty, warmth and immediacy, and a touch of the mysterious, too.
  14. The Adventures of Priscilla, Queen of the Desert
    The Adventures of Priscilla, Queen of the Desert presents a defiant culture clash in generous, warmly entertaining ways.
  15. Body Heat
    While Body Heat involves murder, fraud, a weak hero led astray and a seductive, double-dealing broad, it also incorporates something new: a sexual explicitness that the old films could only hint at.
  16. Fatal Attraction
    Mr. Lyne takes a brilliantly manipulative approach to what might have been a humdrum subject and shapes a soap opera of exceptional power.
  17. Terms of Endearment
    Terms of Endearment is a funny, touching, beautifully acted film that covers more territory than it can easily manage.
  18. Georgia
    The result is a film as maddening and unpredictable as the character herself, held together by a fierce, risk-taking performance and flashes of overwhelming honesty.
  19. 48 Hrs.
    Walter Hill, the director of such beautiful but stilted tough guy movies as ''The Warriors'' and ''The Long Riders,'' has attempted something very different in 48 Hours a male-buddy action film that's positively witty and warm-hearted compared with his other work.
  20. Mad Dog and Glory
    The great satisfaction of Mad Dog and Glory is watching Mr. De Niro and Mr. Murray play against type with such invigorating ease. Each is the other's straight man, a relationship that is hilariously set up in the initial encounter of the cop and the hoodlum.
  21. The Man Without a Face
    The best that can be said about Mr. Gibson as a director -- and this is no mean achievement -- is that it's often possible to forget he was the man behind the camera. Most of this film has a crisp, picturesque look and a believable manner.
  22. Natural Born Killers
    Natural Born Killers never digs deep enough. Mr. Stone's vision is impassioned, alarming, visually inventive, characteristically overpowering. But it's no match for the awful truth.
    • 78 Metascore
    • 80 Critic Score
    Roman Holiday
    It is a contrived fable but a bittersweet legend with laughs that leaves the spirits soaring.
    • 77 Metascore
    • 80 Critic Score
    Breakfast at Tiffany's
    Like that storied novella by Truman Capote from which it stems, it is a completely unbelievable but wholly captivating flight into fancy composed of unequal dollops of comedy, romance, poignancy, funny colloquialisms and Manhattan's swankiest East Side areas captured in the loveliest of colors.
  25. The Distinguished Gentleman
    The Distinguished Gentleman is an easy, breezy romp of a movie, a low comedy of highly entertaining order.
  26. Lethal Weapon 2
    Before it skids out of control in the final sequence, the film is so careful to preserve its successful comic-action formula that it follows the most basic law of sequels. If you liked ''Lethal Weapon,'' you'll like Lethal Weapon 2; it's almost as simple as that.
  27. Hamlet
    Mel Gibson's Hamlet is strong, intelligent and safely beyond ridicule.... He is by far the best part of Mr. Zeffirelli's sometimes slick but always lucid and beautifully cinematic version of the play.
  28. Postcards from the Edge
    Postcards From the Edge seems to have been a terrifically genial collaboration between the writer and the director, Miss Fisher's tale of odd-ball woe being perfect material for Mr. Nichols's particular ability to discover the humane sensibility within the absurd.
  29. Dirty Rotten Scoundrels
    Line by line, the dialogue isn't all that quotable, but there is consistently funny life on the screen. The film's comic timing is nearly flawless.
  30. Young Guns
    Young Guns is best watched in the playful, none-too-serious spirit in which it was made. Though the film concentrates reverentially on its young stars, it also includes good performances from a few grown-ups, notably Terry O'Quinn as a lawyer and Jack Palance as the story's wild-eyed villain.
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