The New York Times' Scores

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For 20,269 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 20269
  2. Mixed: 8,428 out of 20269
  3. Negative: 2,464 out of 20269
20269 movie reviews
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  1. I Am Not Your Negro
    Though its principal figure, the novelist, playwright and essayist James Baldwin, is a man who has been dead for nearly 30 years, you would be hard-pressed to find a movie that speaks to the present moment with greater clarity and force, insisting on uncomfortable truths and drawing stark lessons from the shadows of history.
  2. Do Not Expect Too Much From the End of the World
    The movie is overflowing with ideas — about history, capitalism, cinema, representation — but it also tests your patience before amply rewarding it.
  3. Aftersun
    It’s hard to find a critical language to account for the delicacy and intimacy of this movie. This is partly because Wells, with the unaffected precision of a lyric poet, is very nearly reinventing the language of film, unlocking the medium’s often dormant potential to disclose inner worlds of consciousness and feeling.
  4. Amour
    A masterpiece about life, death and everything in between.
  5. The Hurt Locker
    The best nondocumentary American feature made yet about the war in Iraq.
  6. Anatomy of a Murder
    It is the best courtroom melodrama this old judge has ever seen.
  7. Pulp Fiction
    A triumphant, cleverly disorienting journey through a demimonde that springs entirely from Mr. Tarantino's ripe imagination, a landscape of danger, shock, hilarity, and vibrant local color. Nothing is predictable or familiar within this irresistably bizarre world. You don't merely enter a theater to see Pulp Fiction; you go down a rabbit hole.
  8. Zero Dark Thirty
    Ms. Bigelow's direction here is unexpectedly stunning, at once bold and intimate: she has a genius for infusing even large-scale action set pieces with the human element.
  9. Collective
    The arc of the moral universe may bend toward justice. But as Collective lays out with anguished detail and a profound, moving sense of decency, it takes stubborn, angry people — journalists, politicians, artists, activists — to hammer at that arc until it starts bending, maybe, in the right direction.
  10. A Separation
    It is a rigorously honest movie about the difficulties of being honest, a film that tries to be truthful about the slipperiness of truth.
  11. Double Indemnity
    Such folks as delight in murder stories for their academic elegance alone should find this one steadily diverting, despite its monotonous pace and length...But the very toughness of the picture is also the weakness of its core, and the academic nature of its plotting limits its general appeal.
    • 95 Metascore
    • 80 Critic Score
    Sunrise
    Mr. Murnau shows himself to be an artist in camera studies, bringing forth marvelous results from lights, shadows and settings. He also proves himself to be a true story teller, and, incidentally, here is a narrative wherein the happy ending is welcome.
  13. La Dolce Vita
    A brilliantly graphic estimation of a whole swath of society in sad decay and, eventually, a withering commentary upon the tragedy of the overcivilized. (Review of Original Release)
  14. Schindler's List
    But the film Schindler's List, directed with fury and immediacy by a profoundly surprising Steven Spielberg, presents the subject as if discovering it anew.
  15. WALL-E
    The first 40 minutes or so of Wall-E -- in which barely any dialogue is spoken, and almost no human figures appear on screen -- is a cinematic poem of such wit and beauty that its darker implications may take a while to sink in.
  16. His Girl Friday
    His Girl Friday is a bold-faced reprint of what was once—and still remains—the maddest newspaper comedy of our times.
  17. Carol
    At once ardent and analytical, cerebral and swooning, Carol is a study in human magnetism, in the physics and optics of eros. With sparse dialogue and restrained drama, the film is a symphony of angles and glances, of colors and shadows.
  18. Before Midnight
    Before Midnight is a wonderful paradox: a movie passionately committed to the ideal of imperfection that is itself very close to perfect.
  19. Amazing Grace
    You get both the most lovely gaze a professional camera’s ever laid upon Aretha Franklin and some of the mightiest singing she’s ever laid on you. The woman practically eulogizes herself. Don’t bother with tissues. Bring a towel.
  20. Dunkirk
    Dunkirk is a tour de force of cinematic craft and technique, but one that is unambiguously in the service of a sober, sincere, profoundly moral story that closes the distance between yesterday’s fights and today’s.
    • 94 Metascore
    • 100 Critic Score
    The Man Who Shot Liberty Valance
    Mr. Ford, who has struck more gold in the West than any other film-maker, also has mined a rich vein here. He is again exposing the explosive forces involving the advent of law, in the shape of Mr. Stewart, on the raw denizens of a lawless frontier town. When legend becomes fact, a newspaper editor tells Mr. Stewart, print the legend. In Liberty Valance, there is too much of a good legend.
  22. The Searchers
    A rip-snorting Western, as brashly entertaining as they come.
  23. 45 Years
    [A] sensitive and devastating portrait of a long, happy marriage in sudden crisis.
  24. Taxi Driver
    Acting of this sort is rare in films. It is a display of talent, which one gets in the theater, as well as a demonstration of behavior, which is what movies usually offer. Were Mr. De Niro less an actor, the character would be a sideshow freak.
  25. Inside the Yellow Cocoon Shell
    Pham manages to float existential and spiritual questions into Thien’s consciousness and ours without trying to offer solutions, at least in language.
  26. The Servant
    Its account of patrician degradation will cause you to blink your eyes. Although it is only fiction, it wafts a thick and acrid air of smoldering truth.
  27. Yi Yi
    In exchange for three hours of your time, Yi Yi will give you more life.
  28. The Manchurian Candidate
    The film is so artfully contrived, the plot so interestingly started, the dialogue so racy and sharp, and John Frankenheimer's direction so exciting in the style of Orson Welles when he was making Citizen Kane and other pictures that the fascination of it is strong. So many fine cinematic touches and action details pop up that one keeps wishing the subject would develop into something more than it does.
  29. Mr. Turner
    Mr. Turner is a mighty work of critical imagination, a loving, unsentimental portrait of a rare creative soul. But even as it celebrates a glorious painter and illuminates the sources of his pictures with startling clarity and insight, the movie patiently and thoroughly demolishes more than a century’s worth of mythology about what art is and how artists work.
  30. The Irishman
    A monument is a complicated thing. This one is big and solid — and also surprisingly, surpassingly delicate.
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