The New York Times' Scores

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For 20,335 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: 9,412 out of 20335
  2. Mixed: 8,455 out of 20335
  3. Negative: 2,468 out of 20335
20335 movie reviews
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  1. Aladdin
    The fundamentals here go beyond first-rate: animation both gorgeous and thoughtful, several wonderful songs and a wealth of funny minor figures on the sidelines, practicing foolproof Disney tricks. Only when it comes to the basics of the story line does Aladdin encounter any difficulties.
  2. Love, Cecil
    The quirks of Beaton’s personality — his cultivation of enemies and frustrated romanticism, among them — are finally not as interesting as his work.
  3. Catching Feelings
    It is notable both for its considerable comedic flair and its detailed depiction of Johannesburg.
  4. Recovery Boys
    Watching the men as they work, attend 12-step meetings and struggle to repair frayed familial bonds, she unearths moments of raw revelation that quietly highlight our shameful lack of effective help.
  5. Touch
    Mr. Schrader doesn't match the Leonard habit of ending each scene with a lively little jolt. But he succeeds admirably in extracting the novel's best lines and in casting his film with mischievous verve.
  6. Street Smart
    An engrossing study of loose talk, weakness and seduction, played out in both the world of high-powered journalism and the seediest corners of Times Square.
  7. The Bad News Bears in Breaking Training
    Manufactured comedy of a slick order, depending aImost entirely for its effects on the sight and sound of a bunch of kids behaving as if they were small adults. It's a formula that worked for Our Gang Comedy for many years, and works again here with a bright screenplay by Paul Brickman, based on Bill Lancaster's original characters, and direction of intelligent lightness by Michael Presman.
  8. The Great Muppet Caper
    Here is a thoroughly genial movie, a combination of A.A. Milne, Busby Berkeley and a small bit of Blake Edwards.
  9. Sierra Burgess Is a Loser
    There’s sharp dialogue throughout.
  10. State of Grace
    With coolly expressive cinematography by Jordan Cronenweth and an insinuating Ennio Morricone score, State of Grace has a somber and chilling tone that is only occasionally breached.
  11. Constructing Albert
    Sibling rivalry is a consistent subtext but only that — Mr. Adrià’s main concern is to create. As it happens, in this generally likable film he is at his most endearing when fixing himself a simple (but indeed delicious looking) grilled ham and cheese sandwich.
  12. King of Peking
    It’s a charming, breezy father-son story but also a diverting account of Chinese film and video culture in the 1990s.
  13. After Everything
    White and Monroe demonstrate natural chemistry, and they discretely suggest the private experiences of their characters, the youthful doubts that can’t be extinguished by passion. In unpretentious fashion, After Everything portrays the bittersweetness of a first love that blooms in crisis.
  14. Maverick
    Fast, funny, full of straight-ahead action and tongue-in-cheek jokes, Maverick is Lethal Weapon meets Butch Cassidy and the Sundance Kid. That combination won't win any prizes for originality, but it works like a movie mogul's dream and sets the summer-film season off to an unbeatable start.
  15. Bad Reputation
    The movie chronicles music industry tales of glory and failure. These are dishy, but more interesting is Ms. Jett’s rock ‘n’ roll heart. The stories of how she mentored younger bands are moving.
  16. Hal
    It’s a consistently engaging trip. Ms. Scott has assembled a nice, fairly well-rounded group to testify on her subject’s behalf, including people who were part of Ashby’s foundational years in Hollywood — most important, the director Norman Jewison.
  17. Cyrano de Bergerac
    With its screenplay adapted from Rostand by Mr. Rappeneau and Jean-Claude Carriere, the movie is really memorable, though, only for the Depardieu performance, and for the chance it gives us to hear the original French verse.
  18. Good Burger
    When Mr. Mitchell says it, it's hysterically funny. And he's immensely likable.
  19. Nine Months
    Nine Months is slick, phony and uneven, but it's often raucously funny too. And Mr. Grant displays enough intelligence and sportsmanship to emerge from this ordeal as a major Hollywood star.
  20. Science Fair
    Thanks to its lovable subjects, Science Fair nails the presentation, but its research is only surface deep.
  21. 93Queen
    Without denying that these women face discrimination in reaching their goal, the movie shows how its subjects are able to find ways to combine strict observance and progress.
  22. Mid90s
    Like its hero, Mid90s struggles to figure out what it wants to be, and the struggle makes it interesting as well as occasionally frustrating.
  23. The Getaway
    Their appeal as a couple of gorgeous outlaws is the main reason to see this sleek, entertaining remake of Sam Peckinpah's 1972 action film.
  24. Wayne's World 2
    A very good-humored sequel for anyone in tune with its subject.
  25. The Trigger Effect
    Directed with a spare look and exceptional crispness and precision, The Trigger Effect ultimately falls back on the familiar, especially in its banal ideas of how Matt and Annie are changed by their experience. But during the three-day emergency that it describes, this cleverly made film sustains a spooky intensity and an insinuating, utterly confident style.
  26. The Last Race
    Dweck divides his efforts between elegiac tone poem and shaggy-dog ensemble piece.
  27. No Date, No Signature
    A tad overdetermined in its studied, snowballing ambiguities, No Date, No Signature is dramatized with an acute sense of the role of class in Iranian society, and is unfussily well directed, creating visual parallels between the two men.
  28. Stan & Ollie
    Steve Coogan and John C. Reilly deliver dynamite performances that capture the expressions and physicality of the star comedians without ever descending into caricature. They never strain for laughs but are consistently amusing.
  29. White Men Can't Jump
    The terrifically confident Mr. Snipes gives a funny, knowing performance with a lot of physical verve. And Mr. Harrelson (of Cheers) further perfects the art of appearing utterly without guile. Their comic timing together shapes the film's raucous wit, and their basketball playing looks creditable, too.
  30. Fathers' Day
    Not surprisingly, there are some slow patches and formulaic touches, but that's a fair trade for the fun of watching Mr. Williams and Mr. Crystal make an irresistible comic team.
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