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. Keep On Keepin' On
    Like other stories of musical tutelage, Keep On Keepin’ On is ultimately an examination of the pursuit of greatness. It is a grueling and demanding endeavor, for sure, but also, for Mr. Terry and anyone lucky enough to enter his orbit, a source of unending joy.
  2. The Hunt
    The Hunt doesn’t know where to stop. It is undermined with a short, unsatisfying epilogue whose shocking final moment isn’t enough to justify its inclusion.
  3. Road Diary: Bruce Springsteen and the E Street Band
    At this point in time, Springsteen is the world’s greatest living entertainer, full stop. “Road Diary,” a new documentary directed by Thom Zimny, offers dynamic proof for this argument.
  4. Hoosiers
    This film's very lack of surprise and sophistication accounts for a lot of its considerable charm.
  5. A Touch of Sin
    A blistering fictionalized tale straight out of China, A Touch of Sin is at once monumental and human scale.
  6. The Beguiled
    [Ms. Coppola’s] Beguiled is less a hothouse flower than a bonsai garden, a work of cool, exquisite artifice that evokes wildness on a small, controlled scale.
  7. On the Adamant
    That Philibert doesn’t stick to a “main character,” or impose a phony narrative arc, vibes well with the facility’s free-spirited methods, even if the documentary lacks the drama of a more structured production.
  8. Winter Kills
    Winter Kills isn't exactly a comedy, but it's funny. And it isn't exactly serious, but it takes on the serious business of the Kennedy assassination.
  9. The Heiresses
    This isn’t a perfect movie — sometimes the machinery of plot-focused screenwriting hums a little too insistently, especially toward the end, disrupting the quieter, richer music of everyday life — but its clearsighted sensitivity makes it a satisfying one.
  10. The Mustang
    The Mustang is direct and almost perilously familiar — it draws from both westerns and prison movies — yet it is also attractively filigreed with surprising faces, unusual genre notes and luminous, evanescent beauty.
  11. Somers Town
    An agreeable if slight, vaguely sketched character study times two.
  12. Scratch
    Dense, exhilarating.
  13. Shanghai Noon
    A refreshing movie that's so good natured, so confident of its ability to provoke not queasy awe or numb exhaustion but pure delight.
  14. Daughter from Danang
    May not be a great piece of filmmaking, but its power comes from its soul's-eye view of how well-meaning patronizing masked a social injustice, at least as represented by this case.
  15. Under the City's Skin
    The real protagonist is the family itself -- a fragile, complex organism undermined by internal conflict and menaced by the cruelty and indifference of the society around them.
    • 77 Metascore
    • 80 Critic Score
    Tazza: The High Rollers
    Bet on Tazza to entertain; you can't lose.
  17. Two Years at Sea
    The result is haunting.
  18. Madam Phung's Last Journey
    Gentle, coaxing questions from off camera draw out their stories.
  19. Presenting Princess Shaw
    Yes, the documentary is undeniably uplifting. But …
  20. Westworld
    Crichton the director seems to have had more fun with the film than Crichton the writer, whose screenplay can offer us no better explanation for the sudden, bloody robot rebellion than an epidemic of "central mechanism psychosis."
  21. Soufra
    Crisply directed by Thomas Morgan, the film depicts a succession of challenges facing Ms. Shaar, a smart, understated and tenacious entrepreneur.
  22. A Star Is Born
    The original beauty. Not as glittery as Garland-Mason but in some ways even more golden.
  23. La Flor
    La Flor is perhaps more fun to think about than to sit through, though there are some exquisitely beautiful sequences.
  24. The Apollo
    While “The Apollo” itself might have taken a more inventive approach, it derives its power from the artistry it captures.
  25. Carnal Knowledge
    More than any other film Nichols has made, Carnal Knowledge reminds me of his stage work at its best, particularly of the highly stylized Luv in which low comedy techniques were employed to illuminate material that might otherwise seem too cruel, or too anti‐heroic for a dramatic medium.
    • 77 Metascore
    • 80 Critic Score
    The Story of a Three-Day Pass
    The film is a kind of gentle cross between Hiroshima Mon Amour and Guess Who's Coming to Dinner—a little hard to imagine, it is true, but less pretentious than the first and less false than the second. If you like one of them I think you are obliged to like all three.
  27. Chang Can Dunk
    A funny and thoughtful high school comedy.
  28. The Holy Girl
    The Holy Girl may occasionally frustrate your desire for clarity and order, but in the end it will reward your patience, and you leave the theater in a state of quiet awe.
  29. Clara Sola
    Araya is remarkably tender as she sinks her fingers into the earth or gingerly lifts bugs off the ground, while Sophie Winqvist Loggins’s hushed, soft-focus camerawork imbues these moments with an almost spiritual grace.
  30. Philomena
    Even through improbable moments and abrupt changes of pace and tone, Ms. Dench and Mr. Coogan hold the movie together.
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