The New York Times' Scores

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For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
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    • 90 Metascore
    • 90 Critic Score
    32 Sounds
    While there’s certainly a specific charm to seeing 32 Sounds live (particularly during a five-minute interactive dance break, when Green invites audience members to walk up to the stage and feel the quaking power of a pair of subwoofers as Samson acts as D.J.), the filmed narrative is engaging and richly visual enough that 32 Sounds would still achieve many of its most spectacular effects at home, preferably through a pair of good headphones.
  2. Seeds
    Though Seeds is a lyrical portrait of a way of life, it also harbors an urgency that’s very much of our moment.
  3. The Crying Game
    Mr. Jordan's screenplay... is both efficient and ingenious. The physical production is as lush as the film's romantic longings. [26 Sept 1992]
  4. Great Expectations
    Somehow, the fullness of Dickens, of his stories and characters—his humor and pathos and vitality and all his brilliant command of atmosphere—has never been so illustrated as it is in this wonderful film, which can safely be recommended as screen story-telling at its best.
  5. First Cow
    First Cow is fundamentally a western: It takes up questions of civilization, solidarity and barbarism on the American frontier. And like many great westerns it critiques some of the genre’s foundational myths with bracing, beautiful rigor, including the myth of heroic individualism.
  6. Mad Max: Fury Road
    Even in the most chaotic fights and collisions, everything makes sense. This is not a matter of realism — come on, now — but of imaginative discipline. And Mr. Miller demonstrates that great action filmmaking is not only a matter of physics but of ethics as well. There is cause and effect; there are choices and consequences.
  7. Le Samouraï
    Delon is fine and the movie has the cool delicacy and preci sion one ordinarily associates with something no more philosophical than a Swiss watch. Melville, however, is a philosopher and “The Godson” is as much parable as fascinating melodrama.
  8. Winter's Bone
    The film's realism is a point of entry rather than the whole point of the exercise. Its setting is finally subordinate to the main character, as memorable and vivid a heroine as you are likely to see on screen this season.
  9. The Queen
    A sublimely nimble evisceration of that cult of celebrity known as the British royal family.
  10. Gett: The Trial of Viviane Amsalem
    With her dramatically pale face framed by a voluptuous dark cloud of hair, Ms. Elkabetz is never more effective than when she’s holding still, her face so drained of emotion that it transforms into a screen within the screen on which another, indelibly private movie is playing.
  11. I Called Him Morgan
    This is not a lurid true-crime tale of jealousy and drug addiction, but a delicate human drama about love, ambition and the glories of music.
  12. All of Us Strangers
    Haigh is a tremendously lyrical filmmaker, and All of Us Strangers unfolds in a space that seems like a dream, or a hallucination, pulsing with the rippling soul rush of love turning a life from monochrome to full color.
  13. Close Encounters of the Third Kind
    Steven Spielberg's giant, spectacular Close Encounters of the Third Kind...is the best—the most elaborate—1950's science fiction movie ever made, a work that borrows its narrative shape and its concerns from those earlier films, but enhances them with what looks like the latest developments in movie and space technology.
  14. The Godfather: Part II
    The only remarkable thing about Francis Ford Coppola's The Godfather, Part II is the insistent manner in which it recalls how much better his original film was...Even if Part II were a lot more cohesive, revealing, and exciting than it is, it probably would have run the risk of appearing to be the self-parody it now seems.
  15. The Hustler
    Under Robert Rossen's strong direction, its ruthless and odorous account of one young hustler's eventual emancipation is positive and alive. It crackles with credible passions. It comes briskly and brusquely to sharp points.
    • 90 Metascore
    • 60 Critic Score
    Red Beard
    Red Beard is well meant and well made, no question about it. But it unfolds familiarly and, at 185 minutes, practically forever.
  17. Procession
    To judge Greene’s experiment, not least because of its visible salutary effects, feels like intruding on private breakthroughs. But the discomfiting power of Procession comes from its ability to show and, to all appearances, facilitate them.
  18. Bloody Sunday
    The level of accomplishment in the filmmaking is overwhelming.
  19. My Voyage to Italy
    Extraordinary labor of love.
  20. A Photographic Memory
    It’s a film that captures the unsettling sensation of reaching middle age, knowing the length of the road ahead is uncertain but certainly shorter than it’s ever been, and not being able to see past the age your parent was upon death.
  21. Blue Is the Warmest Color
    Mr. Kechiche’s style is dizzy, obsessive, inspired and relentless, words that also describe Adèle and Emma and the fearless women who embody them. Many more words can — and will — be spent on “Blue Is the Warmest Color,” but for now I’ll settle for just one: glorious.
  22. American Splendor
    There's as much at stake in the hilarious, moody and cantankerous film adaptation of "Splendor" as there was in this summer's other movies of comic-book antiheroes like "The Hulk" and "The League of Extraordinary Gentlemen."
  23. Phantom Thread
    On first viewing, the captivating strangeness of the mood and the elegant threading of the plot are likely to hold your attention, but later you can go back to savor the lustrous colors, the fine-grained performances and the romantic mystery that holds the whole thing together.
  24. Monsieur Hulot's Holiday
    Perhaps "Mr. Hulot's Holiday" extends a bit longer than it should. As such things do, it inclines to repetition. But most of it is good, fast, wholesome fun.
  25. Gosford Park
    A virtuoso ensemble piece to rival the director's "Nashville" and "Short Cuts" in its masterly interweaving of multiple characters and subplots.
  26. The Birds
    Making a terrifying menace out of what is assumed to be one of nature's most innocent creatures and one of man's most melodious friends, Mr. Hitchcock and his associates have constructed a horror film that should raise the hackles on the most courageous and put goose-pimples on the toughest hide.
  27. La Commune (Paris, 1871)
    In these risk-averse times, it is a pleasure to see a film that fails by attempting too much. Frustrating and demanding as it may be, La Commune (Paris, 1871) is essential viewing for anyone interested in taking an exploratory step outside the Hollywood norms.
  28. Wojnarowicz
    [An] exemplary documentary.
  29. My Perestroika
    My Perestroika gives you a privileged sense of learning the history of a place not from a book but from the people who lived it. Watching it is a little like attending a party in an unfamiliar city and discovering the place's secrets from the guests.
  30. It's Such a Beautiful Day
    Considering that he’s a stick figure, Bill, the main character in It’s Such a Beautiful Day, sure does have a complex internal life. And this animated film by Don Hertzfeldt does an amazing job of making you feel it, in all its sadness, terror and transcendence.
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