The New York Times' Scores

For 20,280 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:
20280 movie reviews
  1. The surgery scenes in The Bleeding Edge are squirm-in-your-seat uncomfortable. But it’s the interviews — watching patients recount agonies they’ve suffered from poorly researched and regulated medical devices — that are hardest to sit through.
  2. The payoff feels somewhat slight, but the foreplay — the will-they-or-won’t-they and the will-he-find-out — builds up with energy and flare. Maybe climaxes are overrated, anyway.
  3. The designs and textures of the movie’s various worlds and their inhabitants are arresting, filigreed and meaningful, with characters and their environments in sync.
  4. Frustratingly sketchy partly because it is not finally a survival tale but a mystical evocation of the power of Inuit mythology, and how the passing down of ancient wisdom can sustain the human spirit in the direst circumstances. But the unanswered questions still nag.
  5. [Mr. Miller's] film shows the influence of other recent work in the American neo-neo-realist vein, notably Ramin Bahrani’s “Goodbye, Solo” and Lance Hammer’s “Ballast,” and like them relies on understatement and indirection to arrive at a powerful and resonant meaning.
  6. Mr. Plympton rewrites the laws of physics at will, but within a rigorous and coherent logic. He conjures a world of absolute improbability that, somehow, makes perfect sense.
  7. If the movie works as well as it does, it’s because Ms. Kusama can coax scares from shadows, silences and ricocheting looks.
  8. Its images and scenes are suffused by an intensity that seems almost to be a quality of the light and air as they play across Ms. Chemla’s watchful, sometimes inscrutable features.
  9. What distinguishes Roxanne Roxanne, a sensitively observed new movie with a dynamite performance by Chanté Adams, is that it marries a traditional hip-hop biopic, a form long dominated by male rappers, with a more idiosyncratic and deeply felt slice of life.
  10. As End of the Century reveals even more starkly than the recent Metallica documentary, "Some Kind of Monster," harmony among band members becomes harder to sustain as the years gather, youthful enthusiasm wanes, and personalities define themselves.
  11. The filmmakers know how potent the material is, and they don't hammer away at the obvious.
  12. Settles for being an atmospheric scenes-in-the-life biography of someone's most unforgettable character. It could have been so much more.
  13. The brilliant, sinister French thriller Red Lights is a twisty road movie in which every sign points toward catastrophe.
  14. Soderbergh rallies a seismic jolt of enthusiasm, and the movie is an elating blaze of flair and pride.
  15. A gripping and important documentary.
  16. 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.
  17. Javier Mariscal and Fernando Trueba’s They Shot the Piano Player is an astoundingly vibrant animated project, fitting for its subject matter.
  18. Masear is a terrific documentary subject, but the hummingbirds are as well, and Aitken brings them close to us.
  19. Mr. Garrel is always worth attending to when he takes up the rhythms and paradoxes of love, and even though this is a minor entry in his canon of melancholy romances, it is brief, brisk and intermittently affecting.
  20. With so much going for it, how could the movie be such a dud?
  21. It’s like “Peeping Tom” meets one of Dario Argento’s giallo joints, but slathered in a coat of melancholic malaise.
  22. Alan, who Mr. Sachs has said was based on his own father, is a great character - passionate, complicated, bursting with life. Those words also describe Mr. Torn's performance.
  23. The animation is handsome, the graphic settings understated but intelligently detailed.
  24. A gorgeous, heartbreaking and utterly convincing work of art.
  25. Mr. Howard doesn’t just want you to crawl inside a Formula One racecar, he also wants you to crawl inside its driver’s head.
  26. The Time That Remains has the scope of a historical epic with none of the expected heaviness.
  27. A remarkably fine film about the muddle of emotions that separates the child from the adult.
  28. Like an uncommonly artful and well-acted after-school special. I don't mean this as a put-down: its combination of realism and fretful moral inquiry is best suited to the tastes and sensibilities of young teenagers who devour young-adult fiction.
  29. Bully forces you to confront not the cruelty of specific children - who have their own problems, and their good sides as well - but rather the extent to which that cruelty is embedded in our schools and therefore in our society as a whole.
  30. With tenderness, humor and beauty, The Half of It comprehends the chasm between wanting and being.

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