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. Cabin Boy
    All this is bizarre without being funny. [7 Jan 1994, p.C12]
    • The New York Times
  2. The War Room
    A revealing film and an invaluable document.
    • 84 Metascore
    • 90 Critic Score
    In the Name of the Father
    And, riskiest of all, the film makers eschewed another grainy documentary go at the subject in favor of a movie drama of one of the most compelling true stories of the modern troubles.
  4. Ghost in the Machine
    It is a competent, occasionally witty genre piece that never tries to be anything more.
  5. Grumpy Old Men
    Grumpy Old Men is the kind of holiday movie a lot of people are searching for. It's cheerful, it's well under two hours and it doesn't concern any major social blights, unless you think Jack Lemmon tossing a dead fish into Walter Matthau's car is cause for alarm.
  6. Tombstone
    Tombstone is a movie that wants to have it both ways. It wants to be at once traditional and morally ambiguous. The two visions don't quite harmonize.
  7. Batman: Mask of the Phantasm
    With its pointed, cavernous backgrounds and a Gotham City setting that evokes a 1940's-style futurism, "Mask of the Phantasm" looks splendid. But its story is too complicated and the editing too jerky for the movie to achieve narrative coherence. And the resemblance between the movie's hero and its enigmatic arch-villain is so close that audiences are likely to be confused.
  8. Philadelphia
    In the end, thanks to such effects and to the simple grace of Mr. Hanks's performance, this film does accomplish what it means to. Philadelphia rises above its flaws to convey the full urgency of its difficult subject, and to bring that subject home.
  9. Faraway, So Close!
    Like Mr. Wenders's previous film, last year's "Until the End of the World," this one begins as a swirl of dazzling ambition and at midpoint turns into a mess. Even so, and even at 2 hours and 20 minutes, it is one of the more intriguing messes on screen.
  10. The Pelican Brief
    The story, neatly compressed, unfolds in dependable and photogenic ways. And it is coaxed along by Mr. Pakula's considerable skills as a brisk, methodical film maker.
  11. Schindler's List
    But the film Schindler's List, directed with fury and immediacy by a profoundly surprising Steven Spielberg, presents the subject as if discovering it anew.
  12. Naked
    Naked is as corrosive and sometimes as funny as anything Mr. Leigh has done to date. It's loaded with wild flights of absurd rhetoric and encounters with characters so eccentric that they seem to have come directly from life. Nobody would dare imagine them.
  13. Wayne's World 2
    A very good-humored sequel for anyone in tune with its subject.
  14. Sister Act 2: Back in the Habit
    The sequel suffers from a lame, saccharine premise and a fatally earnest manner.
  15. Geronimo: An American Legend
    The real flavor of Davis's account, and of the ferocity that earned Geronimo his place in history, is nowhere evident on screen.
  16. Six Degrees of Separation
    Mr. Schepisi's directorial vigor wins out over his film's skittishness. This version may horrify purists, but it winds up working entertainingly on its own broader, flashier terms.
  17. The Snapper
    A small, joyful lark of a film.
  18. Thirty Two Short Films About Glenn Gould
    This film works hypnotically, with great subtlety and grace, in ways that are gratifyingly consistent with Gould's own thoughts about his music and his life.
  19. Mrs. Doubtfire
    The movie's biggest challenge, one that it does not exactly meet, is to persuade the audience that this husband and father's escapade is somehow an act of love.
  20. A Perfect World
    A deeply felt, deceptively simple film that marks the high point of Mr. Eastwood's directing career thus far.
  21. Addams Family Values
    Mr. Sonnenfeld repeats some of the first film's favorite visual stunts without wearing out their welcome, and he sustains much more exuberance than a sequel might be expected to have. The cast, which now includes Carol Kane playing Granny Addams, remains foolproof and great fun.
  22. Carlito's Way
    Carlito's Way is best watched as lively, colorful posturing and as a fine demonstration of this director's bravura visual style.
  23. Ernest Rides Again
    The movie knows its audience, which is roughly between the ages of 5 and 13 and enjoys inane, goofy slapstick that seldom lets up.
  24. The Three Musketeers
    Conceived frankly as a product, complete with hit-to-be theme song over the closing credits, this adventure film cares less about storytelling than about keeping the Musketeers' feathered hats on straight whenever they go galloping.
  25. The Remains of the Day
    Looks grand without being overdressed, it is full of feeling without being sentimental. Here’s a film for adults. It’s also about time to recognize that Mr. Ivory is one of our finest directors. [5 November 1993, p. C1]
    • The New York Times
  26. RoboCop 3
    Where the director Paul Verhoeven infused the original Robocop with an attitude of mock solemnity, Robocop 3 has the energy and style of a cartoon free-for-all. [05 Nov 1993, p.C29]
    • The New York Times
  27. Look Who's Talking Now
    Like an over-dressed Christmas tree, Look Who's Talking Now is a movie so eager to shine that it arrives draped in several layers of sentimental tinsel and cutesy-pie decorations.
  28. Ruby in Paradise
    Ruby in Paradise is more often pensive than genuinely thoughtful, but it is helped immensely by Ms. Judd's gravity and strength.
  29. Flesh and Bone
    Most of what keeps Flesh and Bone so gripping is the ways in which the characters themselves evolve.
  30. Kalifornia
    Kalifornia, which was written by Tim Metcalfe, lets its stars overact to the rafters as it vacillates between wild pretentiousness and occasional high style.
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