The New York Times' Scores

For 20,271 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:
20271 movie reviews
  1. Spotlight is a gripping detective story and a superlative newsroom drama, a solid procedural that tries to confront evil without sensationalism.
  2. What is clear from this sober yet electrifying film is that the power of the Panthers was rooted in their insistence — radical then, radical still — that black lives matter.
  3. The filmmaker Sarah Leonor has a keen eye and a gentle, unassuming touch. In The Great Man, she discreetly changes moods and storytelling modes like a pianist sliding her hand down a short, soft glissando.
  4. The ensemble of young actresses is a constantly restless and real presence, the perspective filtered mostly through the cheeky Lale but also through the group as a loving crew.
  5. In Jacir Eid’s extraordinary performance, Theeb exhibits the composure, bravery and cunning of a little savage driven by animal instinct.
  6. It's a dazzling testament to the civilizing effects of several different arts, witty, joyous and so beautiful to look at that it must seem initially suspect to those of us who have begun to respond to spray-painted subway graffiti as the fine art of our time.
  7. Mr. Sharma has created a swirling, fascinating travelogue and a stirring celebration of devotion.
  8. Mr. Kaufman’s gift for quotidian horror remains startling; he’s a whiz at minor miseries.
  9. It’s an impeccable, creepy and genuinely transporting movie.
  10. Neon Bull is a profound reflection on the intersection of the human and bestial.
  11. A true crime story and a madcap comedy, a heist movie and a scalding polemic, The Big Short will affirm your deepest cynicism about Wall Street while simultaneously restoring your faith in Hollywood.
  12. Documentaries about disabilities don’t come any smarter or more touching than Mission to Lars, a beautiful sibling road trip tale with a heavy-metal flourish.
  13. The final shot, accompanied by an improbable but perfect musical cue, is an astonishing cinematic gesture, an appalling, hilarious statement about modern values, the state of the world, human nature and everything else. This is a movie that lives up to its name.
  14. More than a fable about the clash of tradition and modernity, Ixcanul is finally a painful illustration of the ease with which those who have can prey on those who don’t.
  15. While the movie’s multiple images are never less than numinous, and its rhythms sometimes skirt the strangely seductive, this astonishing movie is the opposite of hypnotic.
  16. Both inspiring and upsetting, Democrats is, finally, a film that deserves to be called “necessary.”
  17. The action is gorgeously fluid, the idiosyncratic 3-D visual conceits (including floating eyeballs undersea) are startling, and the story and its metaphors resolve in unexpected and moving ways.
  18. Dunkirk is a tour de force of cinematic craft and technique, but one that is unambiguously in the service of a sober, sincere, profoundly moral story that closes the distance between yesterday’s fights and today’s.
  19. It’s a subtle movie, alert to the almost imperceptible currents of feeling that pass between its title characters.
  20. Sneakily tweaking our fears of terrorism, 10 Cloverfield Lane, though no more than a kissing cousin to its namesake, is smartly chilling and finally spectacular.
  21. American Honey, long and messy as it is, is by turns observant and exuberant, and sweet in a way that is both unexpected and organic.
  22. The miracle of the movie is that, like Toni, it transcends blunt, reductive categorization partly because it’s free of political sloganeering, finger wagging and force-fed lessons. Any uplift that you may feel won’t come from having your ideas affirmed, but from something ineluctable – call it art.
  23. This film isn’t content to be merely a “never forget” reminder; it wants to convey just how deep and lasting the pain is, from this attack and, by extension, many others.
  24. The movie culminates in a cinematic coup de grâce bold enough to spin your head — one that gives the movie an entirely new dimension.
  25. Fire at Sea occupies your consciousness like a nightmare, and yet somehow you don’t want it to end.
  26. Influences aside, the movie so teems with delightful detail and has such an exuberant sense of play that it feels entirely fresh.
  27. Aquarius is a marvelous and surprising act of portraiture, a long, unhurried encounter with a single, complicated person. And that is enough to make it a captivating film, an experience well worth seeking out. But there is also, as I’ve suggested, more going on than the everyday experiences of a modern matriarch.
  28. It’s a psychological thriller, a strangely dry-eyed melodrama, a kinky sex farce and, perhaps most provocatively, a savage comedy of bourgeois manners. Mostly, though — inarguably, I would say — it is a platform for the astonishing, almost terrifying talent of Isabelle Huppert.
  29. With exquisite patience and attention to detail, Asghar Farhadi, the writer and director, builds a solid and suspenseful plot out of ordinary incidents, and packs it with rich and resonant ideas.
  30. Toni Erdmann, proceeding in a perfectly straightforward manner, from one awkward, heartfelt, hilarious scene to the next, wraps itself around some of the thorniest complexities of contemporary reality.

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