The New York Times' Scores

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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:
  1. Positive: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
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  1. Chats perchés
    One can never get enough of this prodigiously talented octogenarian artist and his bestiary.
    • 72 Metascore
    • 80 Critic Score
    Abduction: The Megumi Yokota Story
    The filmmakers have loftier goals, though, and in the end their existential tabloid style justifies itself. Abduction isn't about what happened, but about the painful introspection that is sparked by not knowing.
  3. Stolen Childhoods
    Harrowing yet hopeful film.
  4. The Color of Olives
    Using only natural light, Ms. Rivas and Mr. Sarhandi frame everything with an artistry that belies the difficulty of their working conditions, creating a film as unhurried and dignified as the Amer family itself.
  5. Guru
    Given a rich, multidimensional role, Mr. Bachchan ably seizes on its abundant opportunities.
  6. In the Pit
    With In the Pit [Rulfo] isn't advancing any totalizing theory, a treatise on transportation or an argument about alienation; he is, rather simply and elegantly, revealing the secret human face of a seemingly inhuman world.
    • 76 Metascore
    • 80 Critic Score
    Black Friday
    Epic and raw, Black Friday is cut from the same bloody cloth as "Salvador" and "Munich."
    • 77 Metascore
    • 80 Critic Score
    Tazza: The High Rollers
    Bet on Tazza to entertain; you can't lose.
  9. Blockade
    It all has a ghostly feel, like eerie murmurs during a séance: the static of history heard on a short-wave radio.
  10. Daratt
    The film has the feel of a gift. Particularly noteworthy are Mr. Haroun's eloquent silences, visual and aural.
    • 81 Metascore
    • 80 Critic Score
    Los Muertos
    Like a slowed-down, more realistic and psychologically penetrating cousin of a Werner Herzog or Terrence Malick film, Los Muertos is primarily concerned with the rhythms and textures of life.
  12. Surviving Picasso
    Freed from the slavishness of most authorized biography, the film makers try bold strokes.
  13. Private Fears in Public Places
    The film is accessible, pleasant, dreamy, a touch goofy and melancholic. Its modernist gestures are little more than stylistic tics, but there's an image of snow falling on two clasped hands that is almost rapturous. The role of the artist remains, for Mr. Resnais, the role of a lifetime.
  14. Stephanie Daley
    Without standing on a soapbox Stephanie Daley suggests a tragic gender gap between men who judge and women who feel.
  15. Diggers
    A quintessential American independent movie, Diggers isn't going to change the history of cinema. But it has integrity. It feels like life.
  16. I Don't Want to Sleep Alone
    Mr. Tsai's films are held together internally, and connected one to another, by an elusive, insistent logic that is easier to recognize than to describe. But once you do start to recognize it, each new movie offers passage to an exotic place that feels, uncannily, like home.
  17. Brand Upon the Brain!
    Delirious, ingenious, often very funny and strangely touching film.
  18. Private Property
    Private Property embraces the banal and the monstrous, and affords Ms. Huppert opportunity to astonish rather than overwhelm.
  19. Trust
    Though Mr. Hartley's films are richly detailed, there are no frills or grace notes. Such work risks being too blunt, but Trust comes through.
  20. A Man of No Importance
    A Man of No Importance is a small film with far more charm than its premise might suggest. It is acted with great warmth and wit by an ideal cast.
    • 72 Metascore
    • 80 Critic Score
    White Palms
    The term "sports film" doesn't do justice to the director Szabolcs Hajdu's movie White Palms, a punishing, beautiful drama.
  22. In Between Days
    Sensitive, modest, thrillingly self-assured first feature by So Yong Kim, was one of the standouts of the 2006 Sundance Film Festival -- exactly the kind of thoughtful, independent work one hopes to find there and too rarely does.
  23. Over the GW
    A disturbing look at reprogramming that masquerades as rehabilitation. Having been forced to drink the Kool-Aid, Mr. Gaglia has produced a work that's as much an act of emesis as of filmmaking.
  24. Joshua
    Poised self-consciously between art and entertainment, Joshua offers imaginative staging and some superb performances.
    • 71 Metascore
    • 80 Critic Score
    Crossing the Line
    So fascinating that Crossing the Line is riveting.
    • 51 Metascore
    • 80 Critic Score
    Macbeth
    For four centuries William Shakespeare’s plays have been reinvented to fit contemporary sensibilities. But few recent efforts can match the Australian writer and director Geoffrey Wright’s brutal and thrilling new version.
  27. In Paris
    Picks up where the early François Truffaut and his comrades-in-cinema left off -- with a playful, liberatory style, and a song (actually, a few) in his heart and on his actors’ lips.
    • 73 Metascore
    • 80 Critic Score
    Exiled
    The movie is consistently engrossing and sometimes touching, thanks to its hard yet subtle characterizations and Mr. To’s refusal to condescend.
  29. Half Moon
    Fateful and funny, haunting and magical.
  30. Still Life
    A modern master of postmodern discontent, Jia Zhang-ke is among the most strikingly gifted filmmakers working today whom you have probably never heard of.
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