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. On-Gaku: Our Sound
    In a world of C.G.I.-everything, “On-Gaku” comes as a refreshing blast from the past.
  2. Raiders of the Lost Ark
    One of the most deliriously funny, ingenious and stylish American adventure movies ever made.
  3. I Saw the TV Glow
    What’s most effective, and staggering, is Schoenbrun’s storytelling, which weaves together half-remembered childhood elements in the way they might turn up in a nightmare, weaving in sounds and lights and colors and the gloriously inexplicable.
  4. Deliver Us from Evil
    Neither sensationalistic nor sentimental, Ms. Berg’s film is clear-sighted, tough-minded and devastating, a portrait of individual criminality and institutional indifference, a study in the betrayal of trust and the irresponsibility of authority.
  5. May December
    Moore and Portman are tremendous, but it’s Melton’s anguished performance that gives the movie its slow-building emotional power.
  6. Maidan
    Maidan is a film of scale and immediacy, finding artistry, for better or worse, in bearing witness.
  7. Say Anything...
    The predictable surface of Say Anything is constantly being cracked by characters who think and talk like real people and by John Cusack's terrifically natural, appealing Lloyd.
  8. Drug War
    The brilliant, unsettling action scenes — ugly, savage, dehumanizing — speak volumes.
  9. The Great Beauty
    A deliriously alive movie, The Great Beauty is the story of a man, a city, a country and a cinema, though not necessarily in that order.
  10. Tall: The American Skyscraper and Louis Sullivan
    The film is useful in part because it is so frankly argumentative. The critical appreciation of art is always advanced more effectively by partisanship than by neutrality.
  11. Cover-Up
    Cover-Up is a model of efficient, engaging documentary filmmaking; it looks good, for starters, and it moves energetically.
  12. April
    April is easy to admire, but Kulumbegashvili’s use of art-film conventions can be wearyingly familiar, especially when the leisurely pace turns to a crawl.
  13. 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.
  14. The Miracle of Morgan's Creek
    Mr. Sturges as author and director, is thoroughly up to his stinging style in this film. Situations spark, dialogue crackles and his camera works like a playful Peeping Tom. And from all of the actors he gets performances that make them look like inspired comedians.
  15. 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.
  16. Patton
    A huge, initially ambivalent but finally adoring, Pop portrait of one of the most brilliant and outrageous American military figures of the last one hundred years.
  17. The Lost Daughter
    Only a superficial reading of The Lost Daughter would describe it as a meditation on the twin tugs of children and career. It is, instead, a dark and deeply disturbing exploration of something much more raw, and even radical: the notion that motherhood can plunder the self in irreparable ways.
  18. Black Mother
    In its poetic, elliptical, concise way, this film makes a grand statement: The black mother is the mother of life itself. And the gaze directed at the black faces and bodies in “Black Mother” is not a male gaze, or a documentarian’s gaze. It is a gaze of love.
  19. The Big Sick
    I fell hard for both Ms. Kazan and Mr. Nanjiani and The Big Sick, which tells a great story with waves of deep feeling and questions of identity and makes the whole thing feel like a breeze.
  20. Argo
    It's a doozy of a story and so borderline ridiculous that it sounds - ta-da! - like something that could have been cooked up only by Hollywood.
  21. Summer Hours
    In spite of its modest scale, tactful manner and potentially dowdy subject matter, is packed nearly to bursting with rich meaning and deep implication.
  22. Traffic
    May be the first Hollywood movie since Robert Altman's "Nashville" to infuse epic cinematic form with jittery new rhythms and a fresh, acid- washed palette.
  23. The Grifters
    The Grifters moves with swift unsentimental resolve toward a last act as bleak as any in recent American screen literature. In a less skillful work, it would be a downer. The Grifters is so good that one leaves the theater on a spellbound high. [5 Dec 1990]
    • The New York Times
  24. Talk to Her
    When it's over, the realization of how much the movie means to you really sinks in; you can't get it out of your heart.
  25. Our Daily Bread
    Nikolaus Geyrhalter's superb documentary is an unblinking, often disturbing look at industrial food production from field to factory.
  26. 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.
  27. Hummingbirds
    Hummingbirds is pretty tight filmmaking at less than 80 minutes, and the laid-back presentation makes the political commentary register strongly from the periphery.
  28. The Master
    It is a movie about the lure and folly of greatness that comes as close as anything I've seen recently to being a great movie. There will be skeptics, but the cult is already forming. Count me in.
  29. Boys Don't Cry
    Stunning...a film much tougher and more transfixing than its wan title.
  30. The Wild Pear Tree
    The unapologetic, sometimes heavy-handed literariness of The Wild Pear Tree is leavened by hints of grim comedy and sharp, if subtle, social criticism.
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