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. Manhattan Murder Mystery
    Although Manhattan Murder Mystery struggles with its own contrivances, it achieves a gentle, nostalgic grace and a hint of un-self-conscious wisdom. Those who appreciate the long, daring continuum of Mr. Allen's work will be glad to find him simply carrying on.
  2. Freaked
    Freaked, which was directed by Mr. Winter and Tom Stern from a screenplay they wrote with Tim Burns, has the candy-colored glow of a goofy psychedelic comic book and the irreverent sensibility of Mad Magazine.
  3. Weekend at Bernie's II
    A much more high-pitched movie than its forerunner. [10 July 1993, p.15]
    • The New York Times
  4. Texasville
    There are times when Texasville, like the Larry McMurtry novel on which it is based, seems top heavy with eccentrics. Everybody is tirelessly and (worse) lovably oddball. The snappy dialogue occasionally exhausts. Yet also like the book, the movie becomes seriously involving, a cockeyed acknowledgment of an especially American kind of inarticulate despair.
  5. Ruth: Justice Ginsburg in Her Own Words
    Though filled with valuable details, the documentary has the misfortune of arriving after countless other appraisals.
  6. Out of Bounds
    Richard Tuggle's new film wants to be a realistic thriller, but it merely acts out kids' fantasies of heroism and adventure, with drugs and rock music thrown in for a contemporary twist.
  7. Mafia Inc
    For better or worse, Grou has a knack for staging brutality, and for having his movie rock out to a Joy Division track or two.
  8. McLintock!
    If the film doesn't quite come off, it is not for lack of effort. Mr. Wayne is in there swinging all the way, as a reactionary old cattle baron coping with encroaching homesteaders, discontented Indians, a marriageable daughter and a rebellious wife.
  9. The Violent Heart
    Some of these central relationships are inappropriate, even dangerous, but the subtlety of Sanga’s filmmaking allows for big twists to come as a genuine surprise. It makes for a successful manipulation of his audience’s expectations, even if the overall effect is a movie that feels slightly detached.
  10. Pelé
    I did yearn to see more of his talents in action; his header goal in that year’s Italy final feels cosmically liberating. But however conventional as a whole, the movie feels troubled by the traumas of Pelé’s heyday.
  11. My Darling Supermarket
    Better late than never, the film’s spiritual thrust becomes clear by the third act. The stark symmetry of the shelved merchandise and the eerily dissonant score assumes an otherworldly, ritualistic power when our subjects begin musing on faith and the nature of existence.
  12. Life with Mikey
    This film's not-so-secret weapon is Michael J. Fox, who works tirelessly to keep the comedy afloat even when its sentimental side begins to show.
  13. Werewolves Within
    Werewolves Within darts between sharp visual gags, intricately choreographed scenes and a few standout performances, but its climax lands with a thud.
  14. Rose Plays Julie
    Amid the lush greenery of the setting, the atmosphere is perpetually bone-chilling — complete with an ominously high-pitched score — making the film seem distant and difficult to fully embrace
  15. My Beautiful Stutter
    The lessons — for stutterers and non-stutterers — still hold.
  16. Ted K
    The film is a tad reductive, leaning too heavily on currently fashionable explanations for why lonely white men resort to violence. But Stone makes up for it with some magnificently eerie moments.
  17. Truth or Consequences
    The realization that Jayanti is using these things to buttress a fiction — albeit a fiction that could perhaps become true in the blink of an eye — is disquieting in a way the filmmaker might not have intended.
  18. Mannequin: On the Move
    This film has enough new characters and independent spirit to have a light, cheery style of its own.
  19. Unlawful Entry
    Unlawful Entry manages to be more gripping than it is convincing, thanks to the story's inevitable movement toward a violent showdown.
  20. Noises Off...
    There are a number of hefty laughs scattered throughout "Noises Off," Peter Bogdanovich's screen version of Michael Frayn's English stage farce. Yet there are nowhere near as many as the source material deserves and Mr. Bogdanovich's cast might otherwise have earned.
  21. Own the Room
    Tucked like a pair of aces into a solid but unremarkable hand of poker is a story arc that not only heightens the dramatic tension, but also clarifies the film’s more compelling ideas, skillfully tying the stories of the documentary’s subjects to their political subtext.
  22. Happily
    Grabinski has both wit and energy, and these qualities, along with a game cast, help keep “Happily” afloat for far longer than most made-in-L.A. dark domestic comedies. But the movie wants to do too many things, and grows diffuse.
  23. Still Life in Lodz
    The individual stories are powerful, as are the visual comparisons between present-day and historical locations. A few animated sequences effectively evoke the evanescence of memory.
  24. The Man Who Sold His Skin
    The lustrously shot movie breaks Sam out of the gallery grind through Hollywood-grade somersaults in storytelling (one of them so breezily violent as to feel a little tasteless)
  25. Martha: A Picture Story
    The film does a fair job of explaining Cooper’s temperament. (An editor who tried to assign her to photograph pollen for National Geographic found that wasn’t a great fit.) Ultimately, though, the photos are the thing. A conventional biographical portrait almost feels redundant. Cooper has already documented her own life story
  26. Renegades
    With a little more wit and a little less blood, Renegades could have been Lethal Weapon Jr. It is a fast, violent, implausible film about mismatched partners, and though it doesn't exactly break the bounds of its trashy genre, it's not at all bad for what it is.
  27. Arlo the Alligator Boy
    Long before the motley crew crashes the Met Gala, it’s clear that director Ryan Crego is bolting wacky gee-gaws onto a rote plot. Still, several gags pay off.
  28. Swan Song
    Kier is unfailingly captivating in the film, which makes it all the more bothersome that the film itself doesn’t match him.
  29. Our Towns
    As enjoyable as their writing can be, the filmmaking around them — aerial shots, time lapse photography, cuts to the couple looking engrossed — is less inspired than their project.
  30. The Columnist
    The Columnist doesn’t seem to care about making a cogent statement about feminist revenge or online culture. Perhaps it just needed an excuse to carry out its bloody high jinks, which are decent fun in their own right.
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