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. Resurrection
    Strange describes the world of “Resurrection,” as does entrancing, tender, surprising, mournful and, at times, mystifying; it too is a labyrinth of a kind, one that Bi has filled with abrupt turns, elusive figures and shattering moments.
  2. Rushmore
    It's too smart to be maudlin.
  3. The Duke of Burgundy
    In the end there is nothing especially campy about “The Duke of Burgundy,” which neither mocks its heroines nor the breathless, naughty screen tradition to which they belong. It’s a love story, and also a perversely sincere (and sincerely perverse) labor of love.
  4. The Tsugua Diaries
    A work that possesses both the whimsy and fearlessness of a student project and the technical vibrancy of a veteran’s opus.
  5. My Golden Days
    My Golden Days is a memory movie, a story told through a glass darkly.
  6. The Wind Will Carry Us
    Its effects seem more like those of a poem or a piece of music than a movie. Requires the reverent darkness and communal solitude of a theater.
  7. What the Constitution Means to Me
    Schreck succeeds in widening her autobiographical play into a paean for basic fairness: The American Constitution, admired as it is, fails to protect all of us from violence and discrimination.
  8. Night Is Not Eternal
    It’s the rare truly nuanced political documentary that is likely to challenge every viewer’s perspective — not because it tries to see all sides of an issue and leaves the viewer suspended in confusion, but because its point of view feels radically outside of convention, beholden to no one.
    • 87 Metascore
    • 80 Critic Score
    A Tale of Two Cities
    Directed by Jack Conway, the picture is a compelling expansion of Dickens's story of the French Revolution, with the central role of Sidney Carton, a disreputable lawyer, memorably projected by Ronald Colman. [14 Feb 1999, p.6]
    • The New York Times
  10. Force Majeure
    This brilliant, viciously amusing takedown of bourgeois complacency, gender stereotypes and assumptions and the illusion of security rubs your face in human frailty as relentlessly as any Michael Haneke movie.
  11. Good One
    Good One is the writer and director India Donaldson’s feature debut, and an astounding one, full of the kind of emotional detail that can only come from personal experience.
  12. Tampopo
    Mr. Itami often strains after comic effects that remain elusive. The most appealing thing about Tampopo is that he never stops trying. A funny sensibility is at work here.
    • 86 Metascore
    • 80 Critic Score
    I Know Where I'm Going!
    This simple story line is developed with considerable imagination, wit and emotional insight into a thoroughly en-joyable and exhilarating romantic experience.
  14. Blow Out
    Yet more important than anything else about Blow Out is its total, complete and utter preoccupation with film itself as a medium in which, as Mr. De Palma has said along with a number of other people, style really is content.
  15. The Magician
    This picture is full of extraordinary thrills that flow and collide on several levels of emotion and intellect. And it swarms with sufficient melodrama of the blood-chilling, flesh-creeping sort to tingle the hide of the least brainy addict of out-right monster films.
  16. Ten
    A work of inspired simplicity.
  17. Playground
    This is the first feature from the writer-director Laura Wandel, and it’s a knockout, as flawlessly constructed as it is harrowing.
  18. Tangerine
    Tangerine encompasses dizzying multitudes — it’s a neo-screwball chase flick with a dash of Rainer Werner Fassbinder — but mostly, movingly, it is a female-friendship movie about two people who each started life with an XY chromosome set.
  19. sex, lies, and videotape
    Astonishing... One of the freshest American films of the decade. [4 Aug 1989]
    • The New York Times
  20. The Remains of the Day
    Looks grand without being overdressed, it is full of feeling without being sentimental. Here’s a film for adults. It’s also about time to recognize that Mr. Ivory is one of our finest directors. [5 November 1993, p. C1]
    • The New York Times
  21. The Tillman Story
    This devastating film persuasively portrays them (Tillman family) as finer, more morally sturdy people than the cynical chain of command that lied to them and used their son as a propaganda tool.
  22. To Be or Not to Be
    In a spirit of levity, contused by frequent doses of shock, Mr. Lubitsch has set his actors to performing a spy-thriller of fantastic design amid the ruins and frightful oppressions of Nazi-in-vaded Warsaw. To say it is callous and macabre is understating the case.
  23. Room
    While it flickers with grace and imagination during its initial half, largely because of Jack, it devolves into a dreary, platitudinous therapy movie in its second, largely because of Ma.
    • 86 Metascore
    • 80 Critic Score
    The Murder of Fred Hampton
    Although it is unabashedly biased and it is flawed in technical execution, it emerges as a disturbingly somber illustration of some of the ills that beset us and our social system.
  25. Dog Day Afternoon
    Dog Day Afternoon is a melodrama, based on fact, about a disastrously illplanned Brooklyn bank robbery, and it's beautifully acted by performers who appear to have grown up on the city's sidewalks in the heat and hopelessness of an endless midsummer.
  26. An Elephant Sitting Still
    Unsparing as Hu’s anatomy of moral drift may be, there is something graceful in his sympathetic attention to lives defined almost entirely by disappointment and diminished hope. Unlike the titular elephant, the film never stops moving, and by the end, instead of feeling beaten down, the viewer is likely to feel moved as well.
  27. The Wolf House
    The film surprises, with incredible force, in every one of its 75 minutes.
  28. In the Rearview
    The van’s familiar interior has a way of underlining how many other millions across history have had to escape military aggression. Hamela’s work as driver and documentarian reflects that reality while offering a spirit of resilience.
  29. Renaissance: A Film by Beyoncé
    I don’t know if it’s entirely possible to be supremely conscious of one’s self and yet be vividly unselfconscious, but that’s where Beyoncé finds herself.
  30. Anatomy of a Fall
    In a sense, Triet has mapped a path to nowhere. You can respect her choice intellectually and still walk away grumbling in frustration.
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