The New York Times' Scores

Select another publication »
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
view
per page
  1. Quo Vadis, Aida?
    The rigorous honesty of Quo Vadis, Aida? is harrowing, partly because it subverts many of the expectations that quietly attach themselves to movies about historical trauma. We often watch them not to be confronted with the cruelty of history, but to be comforted with redemptive tales of resistance, resilience and heroism.
  2. The Lady Vanishes
    If it were not so brilliant a melodrama, we should class it as a brilliant comedy.
  3. Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    On one hand, this is just cinema. On the other, there’s something about the way that the editing keeps time with the music, the way the talking is enhancing what’s onstage rather than upstaging it. In many of these passages, facts, gyration, jive and comedy are cut across one another yet in equilibrium. So, yeah: cinema, obviously. But also something that feels rarer: syncopation.
  4. In the Same Breath
    If In the Same Breath — the title becomes more resonant with each new scene and shock — were simply about China and its handling (mishandling) of the pandemic, it would be exemplary. But the story that she tells is larger and deeper than any one country because this is a story that envelops all of us, and it is devastating.
  5. Passing
    Together with Thompson and Negga, Hall hauntingly brings to life characters forced to exist in that “not entirely friendly” space, with its cruelties, appearances, ambiguities and hard, merciless truths.
  6. Wojnarowicz
    [An] exemplary documentary.
  7. Petite Maman
    With delicacy, minimal dialogue and lucid, harmoniously balanced images, Sciamma (“Portrait of a Lady on Fire”) invites you into a world that is by turns ordinary and enigmatic.
  8. 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.
  9. Husbands and Wives
    It's also an ensemble piece acted to loopy perfection by a remarkable cast headed by Judy Davis, Sydney Pollack, Mia Farrow, Juliette Lewis, Liam Neeson and Mr. Allen, who's also the writer, director and ringmaster, as well as his own best friend.
  10. Azor
    Written and directed by Andreas Fontana, making a formally precise, tonally perfect feature debut, Azor is a low-key shocker.
  11. Killers of the Flower Moon
    The story’s romance is warmly inviting, and DiCaprio and Gladstone work beautifully together, their different performance styles — Ernest is physically demonstrative while Mollie is reserved — creating a contrapuntal whole.
  12. La Piscine
    Pretty people behaving poorly in beautiful settings is something we don’t see as much of in cinema as we used to. This is a master class in the subgenre, and one of unusual depth.
  13. The Velvet Underground
    As a documentary, it’s wonderfully informative. It’s also a jagged and powerful work of art in its own right, one that turns archaeology into prophecy.
  14. 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.
  15. Lingui, The Sacred Bonds
    Again and again, Haroun shows you Amina and Maria alone and together, at times exchanging hugs or tenderly bowing their heads toward each other. Every so often, you see each running along a street alone, her clothes fluttering and body straining with effort. He shows feet and braids, a flash of a bared leg, the teasing glimpse of a belly. He shows you women in motion and in revolt, fleeing and escaping and at times running sly, joyous circles around the men in their lives.
  16. Decision to Leave
    From the very first destabilizing moments of this movie, Park dazzles you with the beauty of his images and the intoxicating bravura of his unfettered imagination. And then, just when you think you have found your bearings, he unmoors you yet once more, blowing minds and shattering hearts, yours included.
  17. The Power of Kangwon Province (1998)
    Etched with precision and conveying a world of feeling, The Power of Kangwon Province is the second feature by the South Korean director Hong Sang-soo and one of the best films you can see this year.
  18. Farewell My Concubine
    A vastly entertaining movie. It's also one of such recognizably serious concerns that you can sink into it with pleasure and count it a cultural achievement.
  19. Drive My Car
    Hamaguchi’s touch — delicate, precise, restrained, gentle — overwhelms in increments. His reserve is essential to his visual and narrative approach but also feels like a worldview.
  20. How Green Was My Valley
    Darryl Zanuck, John Ford and their associates at Twentieth Century-Fox have fashioned a motion picture of great poetic charm and dignity, a picture rich in visual fabrication and in the vigor of its imagery, and one which may truly be regarded as an outstanding film of the year.
  21. Nope
    There are some fascinating internal tensions within the movie, along with impeccably managed suspense, sharp jokes and a beguiling, unnerving atmosphere of all-around weirdness.
  22. Happening
    Throughout, Diwan’s gaze remains clear, direct, fearless. She shows you a part of life that the movies rarely do. By which I mean: She shows you a woman who desires, desires to learn, have sex, bear children on her terms, be sovereign — a woman who, in choosing to live her life, risks becoming a criminal and dares to be free.
  23. Lost Illusions
    Giannoli illuminates the dank frenzy of the 19th-century attention economy with an eye on our own post-truth era. Lost Illusions is sensational. Nobody paid me to say that. Well, actually, The New York Times did, but you should believe me anyway.
  24. Hit the Road
    What makes Hit the Road so memorable and devastating is the way it explores normal life under duress.
  25. Fire Music
    This concise but cogent documentary directed by Tom Surgal is crammed with exhilarating sounds, moving reminiscences and stimulating arguments that it is not just music, but vital music.
  26. Intregalde
    Watching it again recently, I now saw a movie that, with humor, tenderness and flashes of filmmaking brilliance, looks at what happens when kindness is tested, masks are dropped and self-interest runs free. It’s all a mess and so are we, which I think is very much to Muntean’s point.
  27. The Humans
    The confessions and tensions are commonplace, but The Humans is never less than high on the terrible power of the mundane.
  28. The Girl and the Spider
    The film demands and rewards repeat viewings; it’s different, and more entrancing, every time.
  29. Great Freedom
    The director Sebastian Meise, who wrote the script with Thomas Reider, tells this story with open feeling and steady, emphatic calm.
  30. Dune: Part Two
    The art of cinematic spectacle is alive and rocking in Dune: Part Two, and it’s a blast.
Page:

Top Trailers

See all »
See all trailers »