The New York Times' Scores

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For 20,323 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: 9,408 out of 20323
  2. Mixed: 8,448 out of 20323
  3. Negative: 2,467 out of 20323
20323 movie reviews
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  1. Father of the Bride Part II
    The bourgeois splendor of the Banks house is a major feature of Father of the Bride Part II, a cheerful, harmlessly ingratiating sequel on a par with its 1991 predecessor.
  2. The Quick and the Dead
    Ms. Stone's presence nicely underscores the genre-bending tactics of Sam Raimi, the cult director now doing his best to reinvent the B-movie in a spirit of self-referential glee. Mr. Raimi is limited by a sketch mentality, which means his jokes tend to be over long before his films end. But his tastes for visual mischief and crazy, ill-advised homage can still make for sly, sporadic fun.
  3. Nixon
    Mr. Stone's compassion for his subject overwhelms his film's false moves. And the barrage of undramatized, undigested data gives way to a much tighter and more artful vision...the film starts snowballing its way to real dramatic power. [20 Dec 1995, p.C11]
    • The New York Times
  4. Broken Arrow
    Mr. Woo orchestrates his giddy, daring stunts on a newly spectacular level. There's plenty of physical audacity on screen.
  5. Butterfly Kiss
    Where most movies portraying sociopathic behavior make some attempt at psychological explanation, Butterfly Kiss offers no background to Eunice's craziness. As she throws herself furiously through a bleak highway landscape of anonymous gas stations and convenience stores, she appears to be a self-created avenging demon radiating a powerful but loopy charisma.
  6. All the Right Moves
    A well-made but sugar-coated working-class fable about a football star.
  7. The Unbelievable Truth
    Mr. Hartley and his director of photography, Michael Spiller, have made a film that is visually and verbally much richer than its low budget.
  8. Silkwood
    Silkwood is a very moving work about the raising of the consciousness of one woman of independence, guts and sensitivity.
  9. Sixteen Candles
    The movie is cheerful and light, showcasing Mr. Hughes's knack for remembering all those aspects of middle-class American adolescent behavior that anyone else might want to forget.
  10. Hoffa
    Hoffa is an original work of fiction, based on fact, conceived with imagination and a consistent point of view.
  11. Rocky V
    Rocky V takes him out of his gilded cage and back to the director (John G. Avildsen), the settings and the underdog's outlook that made him famous in the first place. It's a smart move. There's life in the old boy yet.
  12. Days of Thunder
    Tony Scottmdoes his utmost to pump up the audience's adrenaline at all times, which means that the film's big moments - the races, the crashes, the news that someone needs brain surgery - don't seem that different from the small ones.
  13. Delicatessen
    Among the things that deserve mention in this lightweight but sometimes subversively stylish farce are its ingenious credit sequence, its lively editing by Herve Schneid, its use of code names like Artichoke Heart and Cordon Bleu in the guerrilla war that rages underground and its reference to a couple of odd inventions.
  14. Butch Cassidy and the Sundance Kid
    The over-all production is very handsome, and the performances fine, especially Newman, Redford, and Miss Ross, who must be broadly funny and straight, almost simultaneously.
  15. Easy Rider
    With the exception of Nicholson, its good things are familiar things - the rock score, the lovely, sometimes impressionistic photography by Laszlo Kovacs, the faces of small-town America.
  16. The Corruptor
    The movie may be a conventional story of police corruption, temptation and conflicting loyalties, but it never loses its smarts.
  17. Coming to America
    Though Coming to America is a romantic comedy the director steers the film more often toward quick, in-and-out comic situations and gags that are only mildly funny. In part this is due to the fact that Mr. Murphy plays the prince with cheerful, low-keyed innocence that is completely legitimate, but is not supported by the short attention span of the screenplay. The romance is tepid.
  18. Telling Lies in America
    The movie is loaded with heart and the feel for local color and period detail that can only come out of a personal reminiscence.
  19. Wall Street
    Wall Street isn't a movie to make one think. It simply confirms what we all know we should think, while giving us a tantalizing, Sidney Sheldon-like peek into the boardrooms and bedrooms of the rich and powerful.
  20. Rambo III
    Rambo's self-important, weight-of-the-world manner and his taste for political posturing would make him genuinely silly were they not counterbalanced by Mr. Stallone's startling, energetic physical presence and the film's stabs at self-mocking humor.
  21. UHF
    The movie is forever digressing so that Mr. Yankovic can offer media spoofs that have only the most tangential relation to the story. [22 Jul 1989, p.1.15]
    • The New York Times
  22. Little Shop of Horrors
    Little Shop of Horrors isn't uniformly entertaining, nor is its score always entirely audible; the musical dubbing is at times very awkward. But its best moments are delightful enough to make the slow stretches unimportant.
  23. The Favor
    The Favor remains funny and credible in ways that prove feminist comedy is not an oxymoron.
  24. Phar Lap
    The movie Phar Lap is as much of a crowd pleaser as the champion Australian race horse for whom it is named. In a gently rousing style that should appeal in equal measure to adults and children.
  25. Beastly
    This is the kind of cornball entertainment that rainy afternoons were made for. Throw in a cozy sofa too. Beastly will size down well on your television.
  26. The Twilight Saga: Eclipse
    If there is a bit more humor on display here -- some of it evidence that an element of self-conscious self-mockery is sneaking into the franchise -- there is also more violence, and, true to the film’s title, a deeper intimation of darkness. What there isn’t, as usual, is much in the way of good acting, with the decisive and impressive exception of Ms. Stewart, who can carry a close-up about as well as anyone in movies today.
  27. Eat Pray Love
    The film offers an easygoing and generous blend of wish fulfillment, vicarious luxury, wry humor and spiritual uplift, with a star, Julia Roberts, who elicits both envy and empathy.
  28. Get Him to the Greek
    Get Him to the Greek displays the bawdy-sweet mixture that is the signature of the Judd Apatow school of screen comedy.
  29. Shrek Forever After
    What fortifies Shrek Forever After are its brilliantly realized principal characters, who nearly a decade after the first “Shrek” film remain as vital and engaging fusions of image, personality and voice as any characters in the history of animation.
  30. Kick-Ass
    Ms. Moretz is by far the best thing about the film: she holds the screen as gracefully as she executes a running back flip.
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