The New York Times' Scores

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For 20,313 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: 9,401 out of 20313
  2. Mixed: 8,446 out of 20313
  3. Negative: 2,466 out of 20313
20313 movie reviews
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  1. The Shadowless Tower
    This movie opens itself to you with its feeling for people, its grace notes and a few bravura moments that close the distance between characters beautifully.
  2. Hello Dankness
    Hello Dankness belongs to a venerable underground-film tradition of treating refracted entertainment as a mirror for society. No fan of Ken Jacobs’s “Star Spangled to Death,” Richard Kelly’s “Southland Tales” or Joe Dante’s “The Movie Orgy” could help but smile.
  3. Split at the Root
    Split at the Root is a powerful lens into the emotional plight of the thousands of immigrants who cross the border into the United States, the danger they are fleeing and the people trying to help them.
  4. Reggie
    Even as this movie goes deep on still vital topics, it doesn’t skimp on baseball dish.
  5. Chang Can Dunk
    A funny and thoughtful high school comedy.
  6. Late Night with the Devil
    The result is a nasty and delicious, unapologetic pastiche with a flair for menace. I had a blast.
  7. Nam June Paik: Moon Is the Oldest TV
    Paik is undeniable, creating despite lean times (and slowing after a 1996 stroke).
  8. A Lion Is in the Streets
    A headlong and dynamic drama about a back-country champion of the poor who permits his political ambitions to pull him down a perilously crooked road.
    • 74 Metascore
    • 80 Critic Score
    Rachel, Rachel
    Rachel, Rachel...is a real Movie movie, a little sappy at moments, but the best written, most seriously acted American movie in a long time.
  10. The Strawberry Blonde
    Its amiable, infectious quality lies in the seriocomic way it re-creates the Eighteen Nineties culture of New York — horse-and-buggy courtships, dancing at beer gardens, Sunday afternoon street music and maybe an occasional brawl.
  11. The Lavender Hill Mob
    Except for a couple of places, there is no hilarity in The Lavender Hill Mob. But its humors are so ingenious and persistent that it is one big chuckle from beginning to end.
  12. Twilight
    It’s a style so minimalist, it approaches maximalism — and this combination of pulp and precision creates an arresting and unique work of film noir.
  13. The Oak
    Though Nela's is a spiritual journey, Mr. Pintilie dramatizes it in the bitter ways of social satire. The movie has the tempo of cabaret theater. It is wildly grotesque, shocking and sometimes very funny. The details are vivid.
  14. The Edge
    There's no need to worry that Mamet is on foreign territory with this action premise. The Edge succeeds ably in blending his famously acerbic dialogue with nerve-racking adventure scenes.
  15. Nuclear Now
    The film’s aversion to formal or rhetorical bombast as it discusses scientists’ hopes for a better future is its own balm. We’re staring down catastrophe, Stone explains matter-of-factly, but our greatest tool is already in our grasp.
  16. It Ain't Over
    A lively, engaging and moving documentary.
  17. Victim/Suspect
    The film, which examines cases in which sexual assault survivors are charged with false reporting, is the rare entry whose revelations feel cogent, earned and memorable.
  18. I Used to Be Funny
    The perceptive dramedy I Used to Be Funny features a mic-drop performance by Rachel Sennott as a rising stand-up comedian derailed by a vague, internet-viral crime.
  19. The Snake Pit
    The Snake Pit, while frankly quite disturbing, and not recommended for the weak, is a mature emotional drama on a rare and pregnant theme.
  20. Museum of the Revolution
    This is an engrossing documentary, and one that raises questions about the ethics of intervening (or not) in the lives of people struggling to get by. That these queries hover unresolved may leave viewers uneasy, but it also positions us alongside the subjects, waiting for a solution that’s yet to arrive.
  21. Youth (Spring)
    While the running time may be indulgent, the experience of feeling trapped in this world is difficult to shake.
  22. Tiger Stripes
    Occasionally the movie feels like it’s lost its direction, stuffing a little too much into its story and deflating the ferocity of its central metaphor. But there’s a great sense of humor in Tiger Stripes, particularly in Zairizal’s impish performance, and the swing between fear and hilarity make for an engrossing ride.
  23. Exodus
    A dazzling, eye-filling, nerve-tingling display of a wide variety of individual and mass reactions to awesome challenges and, in some of its sharpest personal details, a fine reflection of experience that rips the heart.
  24. The Animal Kingdom
    Narrative ambiguity can be fruitful but also a cop-out, as too many would-be art films tediously demonstrate. Here, though, the movie’s vagueness dovetails with both François’s and especially Émile’s confusion, and importantly, it also serves as a counterpoint to their unshakable love for Lana.
  25. The Scent of Green Papaya
    The Scent of the Green Papaya marks a luxuriant, visually seductive debut for Mr. Hung, whose film is often so wordlessly evocative that it barely needs dialogue. Reaching into the past for its precisely drawn memories, it casts a rich, delicate spell.
  26. National Velvet
    Indeed, in its simple comprehension of the faith and affection of youth it is likely more tender and affecting than even the story of Lassie was. And it certainly is more exciting in its vivid, dramatic display.
  27. A Woman Escapes
    [Campbell's] Audrey does nothing less than enact a kind of communion through voice and image.
  28. Milli Vanilli
    The performers Fab Morvan and Rob Pilatus earn your empathy in the documentary Milli Vanilli, a jolting, eye-opening investigation on how fame destroyed them. The war-of-words film, directed by Luke Korem, unfolds like a whodunit.
  29. Irma la Douce
    Mr. Lemmon is little short of brilliant — vigorous, incisive and deft.
  30. Sin La Habana
    Nabatian is sympathetic to all three characters and their lack of easy choices, and his eye for small cultural details and rituals. . . enforces how identity continues to shape their lives even as they’re far from home.
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