The New York Times' Scores

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For 20,324 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 20324
  2. Mixed: 8,449 out of 20324
  3. Negative: 2,467 out of 20324
20324 movie reviews
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    • 54 Metascore
    • 50 Critic Score
    The Computer Wore Tennis Shoes
    This "Computer" isn't I.B.M.'s kind but it's homey, lovable, as exciting as porridge and as antiseptic and predictable as any homey, half-hour TV family show.
  2. Heavyweights
    Heavyweights is really two movies in one, and they don't mesh.
  3. The World is Full of Secrets
    Intriguing, but ultimately slight.
  4. Iron Will
    Despite this lively history, the material seldom rises above the level of upbeat platitudes.
  5. Rookie of the Year
    Rookie of the Year, which was directed by Daniel Stern from a script by Sam Harper, has an appealing central performance by Mr. Nicholas, who manages to be cocky without seeming obnoxious. As a summer diversion, the film has about as much substance as cotton candy.
  6. Wendy
    Wendy has her moments, certainly, but she remains frustratingly undeveloped and uninvolving, despite the clamor and the score’s triumphalism.
  7. Mr. Toilet: The World's #2 Man
    This is a puff piece of a documentary, eager to spread a message and go down easy.
  8. The Banker
    For a film about the struggles of a black man in America, The Banker spends an awful lot of time on a false white front.
  9. Dracula
    By no means lacking in stylishness; if anything, it's got style to spare. But so many of its sequences are at fever pitch, and the mood varies so drastically from episode to episode, that the pace becomes pointless, even taxing, after a while.
  10. April Fool's Day
    The dialogue is mostly composed of rude variations on ''eek,'' ''ugh'' and ''I'd like to sleep with you this evening.''
  11. Shooting the Mafia
    Idiosyncratic to the point of alienation.
  12. Judy & Punch
    What’s left is a baroque pantomime, a heavy-handed satire of intolerance whose fun fades faster than the livid bruises on Judy’s face.
  13. Pat Garrett & Billy the Kid
    Pat Garrett and Billy the kid suggest either that he (Peckinpah) has begun to take talk about his genius too seriously (it can happen to the best) or that he has fallen in with bad company.
  14. Feast of the Epiphany
    It is easier to like Feast of the Epiphany as an idea for an uncompromising film than it is to reconcile its pretensions.
  15. Promising Young Woman
    A muddled mélange of black comedy, revenge thriller and feminist lecture, Promising Young Woman too often backs away from its potentially searing setup.
  16. She's Missing
    She’s Missing is slow and dreamy and frustratingly opaque. Yet it has a potent sense of place and an ominous atmosphere of impermanence.
  17. Brewster McCloud
    Attempts to be a kind of all American, slapstick Orpheus Ascending, a timeless myth about innocence and corruption told in the sort of outrageous and vulgar terms that Brian De Palma and Robert Downey do much better.
  18. House Calls
    Mr. Zieff seems never to have determined what sort of romance he wanted to show, and as a result the movie is constantly contradicting itself.
  19. The Boys in Company C
    As a film about heroism, it is chiefly remarkable for its gutlessness.
  20. Dead Kids
    This often compelling window into the boys’ culture is muddied by overly slick stylization.
  21. The Kentucky Fried Movie
    Lots of people will probably like The Kentucky Fried Movie, just as they like Kentucky Fried Chicken and McDonald's hamburgers. But popularity is still no reason for deifying mediocrity.
    • tbd Metascore
    • 50 Critic Score
    Ghost Stories
    Ghost Stories is the third anthology film by this foursome of Indian filmmakers. As with any samplers, however, there are some tastes better left forgotten and others one hopes will be expanded into fuller, even more terrifying forms.
  23. No Man's Land
    Peter Werner, who has directed some stylish television shows (''Moonlighting'' episodes and the mini-series ''L.B.J.: The Early Years'') is competent but dull here. The endless car chases through parking garages and close-ups of the two friends talking seem conceived for a television-size scale and budget, then blown up to fill a larger screen.
  24. Timmy Failure: Mistakes Were Made
    There isn’t enough in the way of good jokes or clever references to investigators of yore to make the film appealing, and the flatness of Timmy’s delivery, which is supposed to scan as deadpan, doesn’t contain enough nuances to make much of the humor land.
  25. 1900
    It's a shapeless mass of film stock containing some brilliant moments and a lot more that are singularly uninspired.
    • 50 Metascore
    • 50 Critic Score
    The Land That Time Forgot
    Just as the much grander Jaws became less scary the moment its mechanical shark appeared, the early virtues of Land collapse once the island is reached and the traffic jam in artificial monsters develops.
  27. The Evening Hour
    King works to portray a tight mesh of relationships around Cole, directing Elizabeth Palmore’s valiant adaptation of the sensitively rendered Carter Sickels novel. But lacking a strong central performance from Ettinger — who gets stuck on a half-pained, half-exasperated setting — much of the movie feels like a series of comings and goings, entrances and exits.
  28. And Then We Danced
    The cast perform with conviction, and the whole movie is attractively, solidly put together. But its dramatic components, fraught as they are, are tepidly delivered.
  29. Horse Girl
    Horse Girl delves into a troubled mind only to get lost among its oddities, forgetting the sensitivity that drew it there in the first place.
  30. Summertime
    The most successful sequences are the ones that find new ways of illustrating the meaning of a poem besides lingering on the face of the performer uttering purposefully syncopated and painstakingly intonated lines.
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