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. Children of the Corn
    For those who take Mr. King seriously, this is high-proof King corn, which is to say it has a kick to it even though it hasn't much taste.
  2. The Hotel New Hampshire
    Like the novel, the movie means to be trendy but it is out of touch, though not exactly out of date. It has no recognizable center of interest, no anchor for our attention. It's a series of whoopee-cushion gags...More than anything else, The Hotel New Hampshire is exhausting.
  3. Repo Man
    The real thing. It's a sneakily rude, truly zany farce that treats its lunatic characters with a solemnity that perfectly matches the way in which they see themselves.
  4. This Is Spinal Tap
    ''It's such a fine line between stupid and . . . '' ''And clever,'' muse the band members collectively. It certainly is- and the delightful This Is Spinal Tap stays on the right side of that line.
  5. Against All Odds
    Against All Odds is so lively and enjoyable on its own terms that its genre problems, while real, are easily overlooked. Mr. Hackford's brand of glossy, romantic escapism doesn't have to work as an homage. It has a vitality of its own.
  6. Harry & Son
    A big-screen blowup of the sort of "I love you, Pop" television play that littered the small screen 25 years ago.
  7. Footloose
    Christopher Penn very nearly steals the movie as Ren's hayseed friend, and the two share a musical scene (to Deniece Williams's ''Let's Hear It for the Boy'') that's almost as sensational as the opening credits.
  8. Lassiter
    Even by the standards of escapist entertainment, little of Lassiter seems to matter.
  9. Unfaithfully Yours
    Miss Kinski is a major problem. She's a beauty, all right, but she appears to have no flair whatever for comedy of this sort, or maybe of any sort.
  10. Reckless
    Contrived and cliched as it turns out to be, Reckless has enough vitality to carry it for a while, although it never stops recalling other films.
  11. El Norte
    Not exactly a great film, but it's a very good one that, through the devices of fiction, manages to provoke a number of healthily contradictory feelings about the world we all inhabit at the moment.
  12. Broadway Danny Rose
    Broadway Danny Rose proceeds so sweetly and so illogically that it seems to have been spun, not constructed. Mr. Allen works with such speed and confidence these days that a brief, swift film like this one can have all the texture and substance of his more complicated work.
  13. The Lonely Guy
    If you can get past the movie's aimlessness and its visual drabness, it has its share of isolated laughs.
  14. Hot Dog... The Movie
    It's a beach party movie, marginally better than the average, with snow taking the place of surf.
  15. Nostalghia
    Loveliness, I'm afraid, is really what this movie is all about.
  16. Yentl
    The best thing about Yentl is its earnestness. It may resemble a vanity production from afar (or at close range, too, for that matter), but even at its kitschiest it seems to be heartfelt. That goes a long way, though not far enough, toward saving the film from its own built-in difficulties.
  17. Two of a Kind
    The results are so disastrous that absolutely no one is shown off to good advantage, with the possible exception of the hairdressers involved.
  18. Uncommon Valor
    Action fans may well find Uncommon Valor enjoyably familiar, but for others it will smack of war movie dej a-vu, despite the new angle provided by its concern for American soldiers missing in action in Vietnam.
  19. The Keep
    The movie makes no sense as either melodrama or metaphysics, so that its expensive special effects go up in smoke. Literally.
  20. To Be or Not to Be
    Smashingly funny...This To Be or Not to Be scarcely misses a comic beat right from the opening sequence.
  21. D.C. Cab
    D.C. CAB is a musical mob scene, a raucous, crowded movie that's fun as long as it stays wildly busy, and a lot less interesting when it wastes time on plot or conversation. There's a lot of talent in the large cast, and Joel Schumacher, the director, generally keeps things bustling.
  22. Gorky Park
    On the whole, Mr. Apted's approach to the material is archly effective, making for a crisp, intricate thriller, well able to hold an audience's interest.
  23. Silkwood
    Silkwood is a very moving work about the raising of the consciousness of one woman of independence, guts and sensitivity.
  24. Scarface
    Scarface is the most stylish and provocative - and maybe the most vicious - serious film about the American underworld since Francis Ford Coppola's "Godfather."
  25. Christine
    The early parts of the film are engaging and well acted, creating a believable high school atmosphere. Unfortunately, the later part of the film is slow in developing, and it unfolds in predictable ways. The special effects are good, the performances are nicely deadpan, and the score is clever. But Christine herself is something of a bust.
  26. Sudden Impact
    The screenplay is ridiculous, and Mr. Eastwood's direction of it primitive, which is surprising because he has shown himself capable in such films as ''The Outlaw Josey Wales'' and ''The Gauntlet.''
  27. Of Unknown Origin
    The comic possibilities of this are generally ignored in Brian Taggert's screenplay and the direction of George P. Cosmatos, which features about as many shots from the point of view of the rat as of Bart Hughes.
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