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. A Star Is Born
    Those who have blissful recollections of David O. Selznick's A Star Is Born as probably the most affecting movie ever made about Hollywood may get themselves set for a new experience that should put the former one in the shade when they see Warner Brothers' and George Cukor's remake of the seventeen-year-old film.
  2. No End in Sight
    It’s a sober, revelatory and absolutely vital film.
  3. It's a Wonderful Life
    Indeed, the weakness of this picture, from this reviewer's point of view, is the sentimentality of it—its illusory concept of life. Mr. Capra's nice people are charming, his small town is a quite beguiling place and his pattern for solving problems is most optimistic and facile. But somehow they all resemble theatrical attitudes rather than average realities. And Mr. Capra's "turkey dinners" philosophy, while emotionally gratifying, doesn't fill the hungry paunch.
  4. The Madness of King George
    The Madness of King George mixes the ebullience of Tom Jones with a pop-theatrical royal back-stabbing that is reminiscent of films like The Lion in Winter. That makes it a deft, mischievous, beautifully acted historical drama with exceptionally broad appeal.
  5. Phoenix
    Never less than intriguing, coolly intelligent and flawlessly paced, Phoenix often feels trapped in the logic of its conceit.
  6. Magellan
    The most arresting way that Diaz telegraphs, though, is through the sheer beauty of his images. The movie is often visually intoxicating, at moments gasp-out-loud ravishing, especially in its presentation of the natural world, which can have a soft visual quality that deepens the sense of otherworldliness.
  7. Goodbye Solo
    Grace is also what defines Mr. Bahrani's filmmaking. I can't think of anything else to call the quality of exquisite attention, wry humor and wide-awake intelligence that informs every frame of this almost perfect film.
  8. Gunda
    Sublimely beautiful and profoundly moving, it offers you the opportunity to look — at animals, yes, but also at qualities that are often subordinated in narratively driven movies, at textures, shapes and light.
  9. Western
    With its evocative landscapes and its non-narrative, cinéma vérité style, Western is a layered, atmospheric chronicle of living traditions like bullfights and rodeos, mariachi bands and Texas two-steps. Yet the film also records the tremors of change.
  10. The Power of the Dog
    The Power of the Dog builds tremendous force, gaining its momentum through the harmonious discord of its performances, the nervous rhythms of Jonny Greenwood’s score and the grandeur of its visuals.
  11. Mr. Bachmann and His Class
    This isn’t a heroic-teacher drama about idealism in the face of adversity. It’s an acknowledgment of the hard work of learning, and the magic of simple decency.
  12. The Winding Stream
    Rhythmically blending vintage recordings and live performances, The Winding Stream exudes a quirky warmth that counters its PBS-pledge-drive aura.
  13. Sullivan's Travels
    A beautifully trenchant satire upon "social significance" in pictures, a stinging slap at those fellows who howl for realism on the screen and a deftly sardonic apologia for Hollywood make-believe.
    • 89 Metascore
    • 90 Critic Score
    Downhill Racer
    In appreciating that world, its pathos, its narcissism, its tensions, and its sufficient moments of glory, Downhill Racer succeeds with sometimes chilling efficiency. Within the limits imposed by the tangential nature of its insights, it is a very good movie.
  15. Columbus
    The existence of a debut as confident and allusive as Columbus is almost as improbable as the existence of Columbus, Ind., where the movie is set.
  16. Night of the Living Dead
    Night of the Living Dead is a grainy little movie acted by what appear to be nonprofessional actors, who are besieged in a farm house by some other nonprofessional actors who stagger around, stiff-legged, pretending to be flesh-eating ghouls.
  17. The Artist
    This is not a work of film history but rather a generous, touching and slightly daffy expression of unbridled movie love.
  18. Yankee Doodle Dandy
    As warm and delightful a musical picture as has hit the screen in years, a corking good entertainment and as affectionate, if not as accurate, a film biography as has ever—yes, ever—been made.
  19. Foreign Correspondent
    Director Alfred Hitchcock, whose unmistakable stamp the picture bears, has packed about as much romantic action, melodramatic hullabaloo, comical diversion and illusion of momentous consequence as the liveliest imagination could conceive.
  20. Zama
    Ms. Martel is exploring the past, how we got here and why, but she is more interested in relations of power than in individual psychological portraits. The monstrous must be humanized to be understood, which doesn’t mean it deserves our tears.
  21. In Cold Blood (re-release)
    Excellent quasidocumentary, which sends shivers down the spine. (Review of Original Release)
  22. The Piano
    Prepare yourself for something very special...Here's a severely beautiful, mysterious movie that, as if by magic, liberates the romantic imagination. [16 Oct 1993]
    • The New York Times
  23. Of Mice and Men
    Lewis Milestone, who directed it; Eugene Solow, who adapted it, and Burgess Meredith, Lon Chaney Jr., Betty Field and the others who have performed it, have done more than well in simply realizing the drama's established values.
  24. The Arc of Oblivion
    The Arc of Oblivion is a documentary, which means it captures something about life right now, archiving it for the future. But Cheney is also exploring the meaning of archiving itself.
  25. Dead Souls
    Despite its intense running time and disturbing subject matter, Dead Souls does not seek a complete accounting. In fact, it’s partly about the inability to convey the full horror of these experiences.
  26. Cameraperson
    Cameraperson isn’t a work of journalism or advocacy. It’s a scrapbook, a found poem assembled out of scraps and snippets of truth. And it is, above all, an act of showing rather than telling.
    • 89 Metascore
    • 40 Critic Score
    The Mother and the Whore
    Watching The Mother and the Whore, you find that you're back in the movie-sludge of the nineteen-fifties, when a number of mediocre French films focused on sub-Sagan characters: numb, semi-paralyzed creatures who hardly had the calories to drag themselves through the day.
  28. Dick Johnson Is Dead
    Pitched artfully between the celebratory and the elegiac, it is an inarguably serious documentary with light, surrealistic flourishes that, at times, veer into exuberant goofiness.
  29. High Noon
    Meaningful in its implications, as well as loaded with interest and suspense, High Noon is a western to challenge “Stagecoach” for the all-time championship. (Review of Original Release)
  30. Rebel Without a Cause
    There are some excruciating flashes of accuracy and truth in this film...However, we do wish the young actors, including Mr. Dean, had not been so intent on imitating Marlon Brando in varying degrees. The tendency, possibly typical of the behavior of certain youths, may therefore be a subtle commentary but it grows monotonous.
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