The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. Boxing Helena
    Ultimately, Ms Lynch has nowhere to take her erotic parable except to a dead end, but she makes the unfolding of the story a spooky, engrossing process.
  2. Three Colors: Blue
    Blue doesn't seduce the viewer into its very complex, musically formal arrangements. The narrative is too precious and absurd. The interpretation it demands seems dilettantish.
  3. Fortress
    For all its faults, Fortress has an unusually energetic imagination. At its best, it blends "Robocop," "The Handmaid's Tale" and "Brave New World" into something scary, original and grimly amusing.
  4. Needful Things
    Though this is by no means the grisliest or most witless film made from one of Mr. King's horrific fantasies, it can lay claim to being the most unpleasant. Why? Because when you strip away the suspenseful buildup to a King story, you're often left with mechanical moralizing and crude, sophomoric small talk. Needful Things has more of both than any film could ever need.
  5. Son of the Pink Panther
    As the movie accelerates out of control into a series of frantically intercut scenes that lack basic continuity, the fun turns into a collection of abrupt non sequiturs.
  6. Careful
    If the central performances in Careful approached the earnest intensity of some of its early-1930's inspirations, the movie would probably be twice as funny.
  7. The Thing Called Love
    Mildly engaging, formulaic.
  8. The Man Without a Face
    The best that can be said about Mr. Gibson as a director -- and this is no mean achievement -- is that it's often possible to forget he was the man behind the camera. Most of this film has a crisp, picturesque look and a believable manner.
  9. King of the Hill
    With warmth, wit and none of the usual overlay of nostalgia, King of the Hill presents the scary yet liberating precariousness of life on the edge.
  10. Hard Target
    Mr. Woo's obvious gusto and his taste for myth making are readily apparent. But so is his fondness for the slow, lingering death scene coupled with sickening sound effects. Presenting Mr. Van Damme as reverentially as Sergio Leone did the young Clint Eastwood, Mr. Woo displays a real aptitude for malignant mischief, which is this story's stock in trade.
  11. 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.
  12. Jason Goes to Hell: The Final Friday
    A largely incoherent movie that generates little suspense and relies for the majority of its thrills on close-up gore.
  13. The Secret Garden
    Ms. Holland's film of The Secret Garden is elegantly expressive, a discreet and lovely rendering of the children's classic by Frances Hodgson Burnett.
  14. Sex and Zen
    For those who accept the absurd simulations as realistic, Sex and Zen will have soft-core pornographic appeal. For others, its appeal should be as a cheeky if predictable sendup of erotic obsession and its unhappy consequences.
  15. Heart and Souls
    When the film announces, halfway through, that it will be devoting the rest of its running time to tying up these loose ends, the audience may as well give up the ghost.
  16. Searching for Bobby Fischer
    Even though this film may do for chess what "The Red Shoes" did for ballet, it works movingly and most effectively as a family drama.
  17. Body Bags
    The plots are fairly basic, but the direction by John Carpenter and Tobe Hooper is droll, the effects are all a fan could ask for, and the playing is appropriately agitated. [06 Aug 1993, p.D15]
    • The New York Times
  18. The Fugitive
    Turns out to be a smashing success, a juggernaut of an action-adventure saga that owes noithing to the past. To put it simply, thi is a home run.
  19. The Wedding Banquet
    It is the unusual film comedy in which the humor springs as much from character as from situation.
  20. Rising Sun
    The film's mysteriousness is not profound. Anybody who hasn't guessed the killer's identity after 30 minutes should be forced to watch Rising Sun three times a day until Christmas.
  21. So I Married an Axe Murderer
    It comes as a welcome surprise that "So I Married an Axe Murderer," which might have been nothing more than a by-the-numbers star vehicle, surrounds Mr. Myers with amusing cameos and gives him a chance to do more than just coast.
  22. Robin Hood: Men in Tights
    It hits a couple of ecstatically funny high points, only to plummet into a bog of second-rate gags, emerging a long time later to engage the audience by the sheer, unstoppable force of the Brooks chutzpah.
  23. Poetic Justice
    Although its aspirations are high, the film works only fitfully when Mr. Singleton exercises his gift for vernacular speech, for finding the comic undertow in otherwise tragic situations, and even for parody.
  24. Coneheads
    Coneheads falls flat about as often as it turns funny, and displays more amiability than style.
  25. Another Stakeout
    Another Stakeout is made for the kind of person whom television drives out of the house to the movies but who doesn't want surprises when he arrives at the theater. It's big-screen television fare.
  26. Chantilly Lace
    It is a quirky, ambitious, praiseworthy project that somehow becomes a victim of all the cliches it was invented to avoid.
  27. Free Willy
    How each frees the other is the stuff of Free Willy, which is as engaging as such films can be without offering rude surprises.
  28. Hocus Pocus
    Apparently too much eye of newt got into the formula for Hocus Pocus, transforming a potentially wicked Bette Midler vehicle into an unholy mess. That's too bad, since Ms. Midler's appearance in a role like the one she has here could have been pure witchcraft.
  29. In the Line of Fire
    It's movie making of the high, smooth, commercial order that Hollywood prides itself on but achieves with singular infrequency.
  30. Weekend at Bernie's II
    A much more high-pitched movie than its forerunner. [10 July 1993, p.15]
    • The New York Times
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