The New York Times' Scores

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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:
  1. Positive: 9,377 out of 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. Paths of the Soul
    The movie so upends the traditions of documentary and narrative filmmaking that “dramatizes” may be inaccurate — the filmmakers followed the real pilgrims for a full year, after all. But the movie is so well made and engaging that such distinctions will make little difference to the viewer.
  2. The Souvenir: Part II
    Hogg’s filmmaking presents its own forceful draw and is the reason I watched Souvenir Part II again.
  3. This Is Not a Film
    How did Mr. Panahi do this? I'm at a bit of a loss to explain, to tell you the truth, since my job is to review movies, and this, obviously, is something different: a masterpiece in a form that does not yet exist.
  4. To Have and Have Not
    What Mr. Hawks and his script-writers have done to Mr. Hemingway's tale is to shape it out of all recognition into a pattern of worldly intrigue.
  5. Silent Friend
    Plenty of things happen, but Silent Friend isn’t traditionally plot-driven. It’s a film of sprawling ideas that float around like pollen, with some particles creating marvelous blooms. Others drift off aimlessly.
  6. Finding Nemo
    The humor bubbling through Finding Nemo is so fresh, sure of itself and devoid of the cutesy, saccharine condescension that drips through so many family comedies that you have to wonder what it is about the Pixar technology that inspires the creators to be so endlessly inventive.
  7. Sound of Falling
    Here is a movie whose atavistic excursion through time transfixes, even as its psychology remains as fuzzy as a photograph smeared by motion.
  8. Topsy-Turvy
    One of those films that create a mix of erudition, pageantry and delectable acting opportunities, much as "Shakespeare in Love."
    • 90 Metascore
    • 90 Critic Score
    Samurai Rebellion
    Amazing: stirring, subversive and, beneath their dauntingly severe surfaces, sneakily lyrical.
  10. Sugarcane
    For one, it’s immersive and incredibly beautiful, shot like poetry and scored by Mali Obomsawin. The result is both stunning and sobering.
  11. Small Axe: Mangrove
    A history lesson doesn’t have to be a lecture, and at its best, Mangrove, with its clear and painful implications for the present, conveys the sense of a world in motion, as the possibility of something new comes into being.
  12. Being John Malkovich
    Irresistable, nimble and very funny.
  13. The Incredibles
    Because it is so visually splendid and ethically serious, the movie raises hopes it cannot quite satisfy. It comes tantalizingly close to greatness, but seems content, in the end, to fight mediocrity to a draw.
  14. Green Border
    The fury that radiates off Agnieszka Holland’s Green Border is so intense that you can almost feel it encasing you in its heat.
  15. A Prophet
    One of those rare films in which the moral stakes are as insistent and thought through as the aesthetic choices.
  16. Almost Famous
    What Mr. Crowe has done is nonetheless remarkable. He has made a movie about sex, drugs and rock 'n' roll that you would be happy to take your mother to see.
  17. Oppenheimer
    “Oppenheimer” is a great achievement in formal and conceptual terms, and fully absorbing, but Nolan’s filmmaking is, crucially, in service to the history that it relates.
  18. Paths of Glory
    Mr. Kubrick has made it look terrific. The execution scene is one of the most craftily directed and emotionally lacerating that we have ever seen. But there are two troubling flaws in this picture, one in the realm of technique and the other in the realm of significance, which determine its larger, lasting worth.
  19. Cold War
    The movie is filled with ordinary and surprising beauty, with gleaming and richly textured surfaces, and the kind of velvety black chiaroscuro you can get lost in. Its greatest strengths, though, are its two knockout leads, who give the story its heat, its flesh and its heartbreak.
    • 90 Metascore
    • 70 Critic Score
    Scarface
    It is a stirring picture, efficiently directed and capably acted, but as was once said of The Covered Wagon, that it was all very well if you liked wagons, so this is an excellent diversion for those who like to take an afternoon or an evening off to study the activities of cowardly thugs.
  21. High and Low
    A sizzling, artistic crackerjack and a model of its genre, pegged on a harassed man's moral decision, laced with firm characterizations and tingling detail and finally attaining an incredibly colorful crescendo of microscopic police sleuthing.
  22. The Truman Show
    Warm, affecting and refreshingly shtickless, he (Carrey) occupies center stage here through sheer, beguiling force of personality.
  23. Once
    Its low-key affect and decidedly human scale endow Once with an easy, lovable charm that a flashier production could never have achieved. The formula is simple: two people, a few instruments, 88 minutes and not a single false note.
  24. Sorry, Baby
    In its intimacy and naked truth-telling, Sorry, Baby is the kind of independent movie that can seem like a gift.
  25. Hannah and Her Sisters
    Virtually nonstop exhilaration--a dramatic comedy not quite like any other, and one that sets new standards for Mr. Allen as well as for all American moviemakers. [7 February 1986]
    • The New York Times
  26. Big Men
    Dropping us into a perfect storm of avarice, this cool and incisive snapshot of global capitalism at work is as remarkable for its access as for its refusal to judge.
  27. Cold Water (1994)
    Mr. Assayas's screenplay is loose and uneventful, but his direction has more energy.
    • 90 Metascore
    • 70 Critic Score
    The Circus
    There are passages in The Circus that are undoubtedly too long and others that are too extravagant for even this blend of humor. But Chaplin's unfailing imagination helps even when the sequence is obviously slipping from grace.
  29. Son of the White Mare
    Son of the White Mare isn’t just old hat; the simultaneously geometric and fluid animation renders each mythic trope totally new.
  30. Going My Way
    In addition to Mr. Crosby and Mr. Fitzgerald, Frank McHugh, Miss Stevens, Jean Heather and Stanley Clements—especially the latter as a genial tough — give thoroughly good performances. They enrich this already top-notch film with a vigorous glow of good spirit. Going My Way is a tonic delight.
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