The New York Times' Scores

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For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
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  1. Beanpole
    This is only the second feature from the sensationally talented Russian director Kantemir Balagov (who was born in 1991), and it’s a gut punch. It’s also a brilliantly told, deeply moving story about love — in all its manifestations, perversity and obstinacy.
  2. Shane
    Shane contains something more than beauty and the grandeur of the mountains and plains, drenched by the brilliant Western sunshine and the violent, torrential, black-browed rains. It contains a tremendous comprehension of the bitterness and passion of the feuds that existed between the new homesteaders and the cattlemen on the open range.
  3. The Apartment
    Mr. Wilder has done more than write the film. His direction is ingenious and sure, sparkled by brilliant little touches and kept to a tight, sardonic line.
  4. Stagecoach
    Here, in a sentence, is a movie of the grand old school, a genuine rib-thumper and a beautiful sight to see.
  5. Anatomy of a Murder
    It is the best courtroom melodrama this old judge has ever seen.
  6. The Band Wagon
    Joined with the equally nimble talents of Fred Astaire. Jack Buchanan and Cyd Charisse and some tunes from the sterling repertory of Arthur Schwartz and Howard Dietz, this literate and witty combination herein delivers a show that respectfully bids for recognition as one of the best musical films ever made.
    • 80 Metascore
    • 100 Critic Score
    Bang the Drum Slowly
    A simply marvelous cinematic experience.
  8. The Personal History of David Copperfield
    Restructuring some story arcs and jettisoning others, Iannucci and his collaborator, Simon Blackwell, have created a souped-up, trimmed-down adaptation so fleet and entertaining that its cleverness doesn’t immediately register.
  9. Marriage Story
    It’s funny and sad, sometimes within a single scene, and it weaves a plot out of the messy collapse of a shared reality, trying to make music out of disharmony. The melody is full of heartbreak, loss and regret, but the song is too beautiful to be entirely melancholy.
  10. About Endlessness
    Each shot is a kind of sight gag, a visual and philosophical joke with absurdity in the setup and sorrow in the punchline. But this time, more of the jokes are one-liners, in which the premise and the payoff are one and the same.
  11. The Long Goodbye
    It's great fun and it's funny, but it's a serious, unique work.
    • 87 Metascore
    • 100 Critic Score
    Mutiny on the Bounty
    The weird and wonderful history of H. M. S. Bounty is magnificently transferred to the screen in Mutiny on the Bounty, which opened at the Capitol Theatre yesterday. Grim, brutal, sturdily romantic, made out of horror and desperate courage, it is as savagely exciting and rousingly dramatic a photoplay as has come out of Hollywood in recent years.
  13. Frenzy
    Watching Frenzy is like riding a roller coaster in total darkness. You can never be quite sure when you're going to start a terrifying new descent or take a sudden turn to the left or right. The agony is exquisite.
  14. First Cow
    First Cow is fundamentally a western: It takes up questions of civilization, solidarity and barbarism on the American frontier. And like many great westerns it critiques some of the genre’s foundational myths with bracing, beautiful rigor, including the myth of heroic individualism.
  15. Vitalina Varela
    Vitalina Varela is socially conscious, but dreamlike, elegiac. And an inquiry, too, into the abilities and deficiencies of film as a medium to illuminate human consciousness and experience. It’s essential cinema.
  16. Rashomon
    Much of the power of the picture—and it unquestionably has hypnotic power—derives from the brilliance with which the camera of Director Akira Kurosawa has been used. The photography is excellent and the flow of images is expressive beyond words.
  17. Martin Eden
    The true miracle of this film is how Marcello translates both London’s scabrous tone and his lush, character-revealing prose into pure cinema. Lines have been plucked from the novel, yet even at its wordiest, the film is never weighed down by the burden of faithfulness.
  18. América
    This is an exemplary, moving, show-don’t-tell record of family tenacity.
  19. Saint Maud
    Folding sexual arousal and religious ecstasy into a single, gasping sensation, Saint Maud, the feature debut of the director Rose Glass, burrows into the mind of a lonely young woman and finds psycho-horror gold.
  20. Exotica
    Exotica may not be as perfectly formed as some of Mr. Egoyan's earlier work. Because Thomas's subplot is not as intriguing as the scenes in the club, the stories take too long to merge. But the flaws are minor. Mr. Egoyan continues to build an important, uncompromising career.
    • 89 Metascore
    • 100 Critic Score
    Treasure Island
    A grand and glorious entertainment. Six or 60, the spectator is bound to be caught up in the magic of this thrilling quest for fabulous wealth.
  22. Cat on a Hot Tin Roof
    Burl Ives, Paul Newman, Elizabeth Taylor, Judith Anderson, Jack Carson and two or three more almost work and yell themselves to pieces making this drama of strife within a new-rich Southern family a ferocious and fascinating show. And what a pack of trashy people these accomplished actors perform!
  23. Carnal Knowledge
    More than any other film Nichols has made, Carnal Knowledge reminds me of his stage work at its best, particularly of the highly stylized Luv in which low comedy techniques were employed to illuminate material that might otherwise seem too cruel, or too anti‐heroic for a dramatic medium.
  24. Nomad: In the Footsteps of Bruce Chatwin
    To elaborate as Chatwin did, Herzog implies, is a legitimate response to places that can’t help but exert a strong pull on the imagination. And of course, the truth-and-a-half principle figures heavily in Herzog’s own art — of which this film is a particularly outstanding example.
    • 92 Metascore
    • 100 Critic Score
    Little Women
    The film begins in a gentle fashion and slips away smoothly without any forced attempt to help the finish to linger in the minds of the audience. Little Women is just as honest in its story as Jo's nature.
  26. Never Rarely Sometimes Always
    In “Never Rarely,” the hurdles to an abortion are as legion as they are maddening and pedestrian, a blunt political truism that Hittman brilliantly connects to women’s fight for emancipation.
  27. Palm Springs
    Pain is a necessary ingredient in any successful comedy. The trick, which Barbakow and Siara seem to have mastered on their very first try, is to find the misery of the right kind and intensity, to imply tears that match the laughter.
  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. The Forty-Year-Old Version
    It revels in the pleasure and struggle of creative work. This comes through in the rambunctiousness of Radha’s students, in her belated appreciation of her mother’s paintings, in shots of street murals and sonic scraps of freestyle rhyming — in pretty much every frame of a film that, like its heroine, is grumpy, tender, wistful, funny and combative. Also beautiful.
  30. The Green Knight
    The Green Knight is always interesting — and occasionally baffling — but at the end it rises to a swirling, feverish pitch of feeling and philosophical earnestness.
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