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. The Ladykillers
    Unquestionably minor, perhaps deliberately so, but it is nonetheless intermittently delightful.
  2. Chaos
    The film's mechanical workings are still impressive, but between the unsympathetic characters and the coldly precise direction, there is little here for an audience to clutch to its heart.
  3. The Brown Bunny
    Neither an atrocity nor a revelation, The Brown Bunny is a very watchable, often beautiful-looking attempt by Mr. Gallo to reproduce the kind of loosely structured mood pieces that found American and select foreign-language cinemas of the 1960's and 70's often at their most adventurous.
  4. Speaking in Strings
    Draws a curtain over her intimate personal life.
  5. Blade Runner
    THE view of the future offered by Ridley Scott's muddled yet mesmerizing Blade Runner is as intricately detailed as anything a science-fiction film has yet envisioned.
  6. Silent Water
    Silent Waters is several different movies, and most of them feel negligible and meandering, until the film finally packs a wallop.
  7. A Silent Love
    Ultimately, A Silent Love transcends its problem-play situation to ponder how the best laid plans for an arranged marriage are no match against the vicissitudes of passion in a romantically besotted culture.
  8. Sling Blade
    Thornton is sadly affecting in the film's central role.
  9. Tea with Mussolini
    Once you accept the notion that Tea With Mussolini aspires to be little more than a kind of British-Italian ''Steel Magnolias,'' with a patina of World War II-movie uplift, it becomes a pleasure to watch its stars shamelessly hamming it up.
  10. Rush Hour 2
    The action and humor are enough to make an hour and a half pass quickly and pleasantly.
  11. Rain Man
    In much the way that Raymond stays detached, the performance seems to exist outside the film but, instead of illuminating Rain Man, it upstages the work of everyone else involved. [16 Dec 1988, p.C12]
    • The New York Times
  12. Sphere
    While this is no quick-witted treat on a par with Mr. Levinson's ''Wag the Dog,'' it's a solid thriller with showy scientific overtones.
  13. Mau Mau Sex Sex
    The fun is contagious.
  14. Little Lili
    For all its spikiness, there are hurdles that La Petite Lili cannot overcome. Abridged and abbreviated, Chekhov's leisurely philosophic reflections evoke a musty aroma of pressed flowers in a scrapbook that is out of tune with the times.
  15. The Patriot
    Shamelessly stirring, brandishing Mr. Gibson's anguished masculinity like a musket. It may be effective, but you leave the theater feeling used.
  16. The Count of Monte Cristo
    The film's resolute indifference to fashion makes it, perhaps paradoxically, a refreshing piece of old-style entertainment, accompanied by a whooshing, trembling score by Edward Shearmur.
  17. Kal Ho Naa Ho
    Its luxuriant, nearly three-hour running time allows lots of room for spectacular musical numbers and dramatic climaxes that are extended to the breaking point and beyond.
  18. Wet Hot American Summer
    In essence, it's a ragged collection of bits and sketches cobbled into about a dozen plots, most of which call upon the cast to do a lot of tongue and neck-spraining French kissing.
  19. Gozu
    Mr. Miike is best known in the United States for horror films like "Audition" and "Ichi the Killer." Gozu, for all its extremity, is a more relaxed, less disturbing picture. Its dreamy disconnection is reminiscent of David Lynch's "Mulholland Drive," but it is, if anything, even more hermetic and dissociated.
  20. Mr. and Mrs. Iyer
    Not a subtle film; and, most curiously -- to put it mildly -- for a sermon on tolerance, it resorts to history's eternal scapegoat.
  21. Instinct
    The medium is more palatable than the saccharine message because Hopkins and Gooding know how to put on a show.
  22. Save the Last Dance
    Bland but poised.
  23. Warriors of Heaven and Earth
    The best case for Warriors is its cinematic time travels and its peek into the natural wildness of a long-closed countryside.
    • 61 Metascore
    • 60 Critic Score
    Ferris Bueller's Day Off
    In this film [Hughes] has created a character who is every teen-ager's fantasy, but in the process he has lost some of the authenticity of his other films - leaving several slow transitions or awkward moments.
  25. Red Dragon
    The entire picture is a third-generation Xerox copy, in part because adapting Mr. Harris's books for the screen seems to turn directors into rigid formalists.
  26. Lost Highway
    Lost Highway, an elaborate hallucination that could never be mistaken for the work of anyone else, finds Mr. Lynch echoing the perversity of "Blue Velvet," the earlier film of his that this most closely resembles.
  27. Stage Beauty
    As drama, Stage Beauty is both timorous and ungainly, words that might also describe Ms. Danes's performance.
  28. Enduring Love
    Mr. Michell whips the camera around too much and cuts into his scenes too quickly, but he pumps juice into this thin story and, together with his performers, keeps a movie going that might otherwise crash-land.
  29. In Praise of Love
    Godard's artistry -- the way his scenes are at once archly stylized and informal, the quick precision of his eye -- is unarguable. But the beautiful images and solemn words cannot disguise the slack complacency of his vision.
  30. Girls Will Be Girls
    Appropriately cynical, pleasantly camp (Coco has the best hair -- a teased, sprayed flip) and just fresh enough to be funny more often than not.
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