The New York Times' Scores

For 20,311 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:
20311 movie reviews
  1. What's oddly appealing about this film is the sweetness that the director, François Velle, manages to extract from Craig Sherman's rather bitter screenplay.
  2. The picture itself is about, yes, cycles, and as tiresome as that sounds, 10 minutes into the film you'll be white-knuckled and unable to look away.
  3. Remarkable for its seamless ensemble performances.
  4. For all its narrative glitches and its homemade quality, Thirteen evokes the rhythm, texture and tone of Nina's world in a way that a more carefully scripted film never could.
  5. Babylon is about architecture as a balm, and this is a particularly good time for such a film.
  6. It's about individuals, not about sensations. If the characters' backgrounds are not examined in detail, the movie still conveys an intimate sense of who they are and their emotional connections.
  7. Powerful sweat-stained swatch of Argentine neo-realism.
  8. What distinguishes Raja from every other movie to contemplate the treacherous intersection of passion, avarice and power is its unsettling emotional honesty. The two central performances are so spontaneous and mercurial that the reckless flirtation seems to be unfolding before your eyes.
  9. Lagaan may look naïve; it is anything but. This is a movie that knows its business — pleasing a broad, popular audience -- and goes about it with savvy professionalism and genuine flair.
  10. A cinematic tone poem as much as a biography.
  11. As these tumultuous events play out in the film... they generate the suspense of a smaller-scale "Seven Days in May."
  12. This tiny film is heartfelt, well made and worthy of attention.
  13. Very well edited by Laura C. Murray and set to an effective score by the percussionist Evelyn Glennie, People Say I'm Crazy is a small film but an extremely affecting one.
  14. Does an impressive job of relating the complicated history of the war and of filling in the background.
  15. In its harshly realistic scenes... it stirs your blood.
  16. Best and most touching when it shows how willing punk is to eat its young.
  17. One of the thrills of the movie is watching the improvisatory trial-and-error process as the dancers explore psychological themes, contorting their graceful, amazingly limber bodies into visual representations of relationships and emotional states.
  18. For the most part, Paul Laverty's screenplay and the strong, naturalistic performances lend it a specificity that sets it apart.
  19. The unutterably charming Cinévardaphoto brings together three short works by the filmmaker Agnès Varda, one shot in digital video, the others on celluloid.
  20. This sentimental but riveting film has no qualms about playing on our emotions.
  21. "For my vision of the cinema," Orson Welles once said, "editing is not simply one aspect. It is the aspect." According to Edge Codes.com, a wonderfully informative new documentary, what was true for Welles's cinema is true for the medium as a whole.
  22. If Mr. Shicoff ultimately comes across as a short-tempered, egotistical prima donna, the upshot of all the fuss is worth it: his Viennese performance is transcendent.
  23. Pamela Yates's harrowing documentary chronicles 20 years of terror, brutality and repression.
  24. Offers one man's extraordinary life as a gateway to a larger history of tragedy and transition. It's an unflinching account of what farming takes -- and, more important, what it gives back.
  25. When the right thing is done, it is uplifting in any context. Sisters in Law positively soars.
  26. A fascinating glimpse not just of the early campaigns of the African National Congress, but also of the way childhood memories can obscure larger truths.
  27. At first House of Sand may seem like a stark tale of survival, but a surprisingly lush and colorful romance blossoms in its bleak and gorgeous desert setting.
  28. Home brilliantly illuminates the invisible damage inflicted by years of deprivation. When survival hinges on trusting no one but yourself, the kindness of strangers can seem too good to be true.
  29. If there were more experimental films as entertaining as The Decay of Fiction, Pat O’Neill's luminous Hollywood ghost story, the notion of a thriving avant-garde cinema might not be so intimidating to the moviegoing public.
  30. Mr. Block has put his parents’ life, and his own, into this film with such warmth and candor that it may take more than one viewing to recognize it as a work of art.

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