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. Varda by Agnès
    It’s a perfect introduction and a lovely valediction.
  2. Wood and Water
    With a kind of dissociative, jet lag-induced delirium, the film transitions — somehow fluidly — from the lush woodlands and desolate churches of southern Germany to the flickering lights and modernist textures of Hong Kong in the throes of mass demonstrations.
  3. Out of the Past
    The style is still sharp and realistic, the dialogue still crackles with verbal sparks and the action is still crisp and muscular, not to mention slightly wanton in spots. But the pattern and purpose of it is beyond our pedestrian ken.
  4. The Delinquents
    The Delinquents wants to live modestly. It’s less concerned with satisfying the expectations of its genre than in finding waggish ways to deviate from them. To the film’s thinking, narrative is only a construct.
  5. Close Your Eyes
    Close Your Eyes has its virtues, certainly, including some pleasurably loose interludes at the beachfront compound where Miguel lives. These have a delicate, unforced quality that creates pinpricks of light in a movie that, as it struggles to engage meaningfully with the past, sinks into ponderousness.
  6. Lakota Nation vs. United States
    This stunning film, directed by Jesse Short Bull and Laura Tomaselli, interleaves interviews of Lakota activists and elders with striking images of the Black Hills and its wildlife, historical documents and news reports, clips from old movies and other archival footage to extraordinary effect, demonstrating not only the physical and cultural violence inflicted on the Lakota but also their deep connection to the Black Hills, the area where Mount Rushmore was erected.
  7. Cactus Pears
    While the film centers on the comfort Anand finds with Balya and vice versa, it is also an elegantly reserved study of Anand’s grief, finding a rhythm in its scenes of ritual that allows us to ache alongside.
  8. Eighth Grade
    Eighth Grade is a simple story of an unremarkable girl, tenderly and movingly told.
  9. Exit Through the Gift Shop
    Exit could be a new subgenre: the prankumentary. Audiences, however, would be advised simply to enjoy the film on its face -- even if that face is a carefully contrived mask.
  10. Kings & Queen
    Late in his new film Kings and Queen, the wildly gifted French director Arnaud Desplechin yanks the rug from under his characters and sends both them and us reeling.
  11. Sling Blade
    Thornton is sadly affecting in the film's central role.
  12. The Novice
    Fuhrman’s performance matches the filmmaking for its intensity. The movie achieves a surreal allure — at times, it’s hard to pay attention to the dialogue because the images and the sound design are already communicating so much.
  13. Girlhood
    Even as she stops at familiar stations on the road to maturity — problems at home and school, new friendships and first love — Ms. Sciamma revels in the risky, reckless exuberance of adolescence and in the sheer joy of filming it.
  14. Let's Get Lost
    Chet Baker's face, and the extraordinary ways in which Bruce Weber has photographed it, encapsulate the story of Baker's life in a succession of ghostly, indelible images that are at once hauntingly beautiful and desperately sad.
  15. Offside
    While the gist of Offside is the same (as "The Circle"), its tone is more insouciant, as it celebrates the guile and toughness of its heroines while casting a sympathetic glance at the ethical quandaries facing their jailers.
  16. Kiki's Delivery Service
    A conventional but delightful tale of self-discovery and heroism from Mr. Miyazaki, it feels like Disney one moment, Truffaut the next.
  17. The Ornithologist
    Mr. Rodrigues ultimately delivers an intriguing, daring film that is likely to surprise both his fans and moviegoers unfamiliar with his work.
    • 85 Metascore
    • 80 Critic Score
    El Dorado
    The taut guidance of Mr. Hawks, an old frontier hand, the barbed, pungent and frequently funny dialogue, plus some murderous gun forays, add up to crisp entertainment
  19. Sleeping Beauty
    A crisply stylized fairyland, where the colors are rich, the sounds are luscious and magic sparkles spurt charmingly from wands.
  20. Mona Lisa
    NEIL JORDAN'S Mona Lisa is classy kitsch. It's as smooth and distinctive (and, ultimately, as insubstantial) as the old Nat (King) Cole recording of the song, which gives the film its title and a lot of its mood. It's also got high style, so you needn't hate yourself for liking it.
  21. A Nice Indian Boy
    In this vibrant addition to cinema’s romantic landscape, love isn’t the only winner: cultural understanding and the freedom to choose your own path triumph as well.
  22. Easy Rider
    With the exception of Nicholson, its good things are familiar things - the rock score, the lovely, sometimes impressionistic photography by Laszlo Kovacs, the faces of small-town America.
  23. Princess
    Thanks to Ms. Haas’s truly remarkable lead performance (she was 16 at the time of filming) and Ms. Shalom-Ezer’s nuanced dialogue, Adar’s journey finally feels more like one of empowerment than victimization.
  24. Knocked Up
    An instant classic, a comedy that captures the sexual confusion and moral ambivalence of our moment without straining, pandering or preaching.
    • 85 Metascore
    • 80 Critic Score
    The Quiet Man
    Let's face it. Mr. Ford is in love with Ireland, as is his cast, and they give us a fine, gay time while they're about it.
  26. Turtles Can Fly
    It is a heartbreaking film, and cruelty sometimes seems to be not only its subject but its method. Like the child on a high cliff that is one of its recurring images, the film walks up to the edge of hopelessness and pauses there, waiting to see what happens next.
  27. The Departed
    What helps make The Departed at once a success and a relief isn't that the director of "Kundun," Mr. Scorsese's deeply felt film about the Dalai Lama, is back on the mean streets where he belongs; what's at stake here is the film and the filmmaking, not the director's epic importance.
  28. Yes
    Yes is an unsparing movie and can be hard to watch partly because Lapid’s raw fury and maximalist approach can border on off-putting excess. There are times in “Yes” when he seems to be veering out of control. At other times, he almost seems to bait you to look away, to turn off and tune out just like his revelers, even as he inexorably pulls you in, forcing you to bear witness alongside him.
  29. Festival Express
    To watch the biggest stars of their time in casual conversation, trading riffs and passing bottles, without benefit of publicists, handlers and security goons is to relive an innocent, anarchic time in the entertainment business when music, not marketing, was at the center of the enterprise.
  30. Spring, Summer, Fall, Winter... and Spring
    An exquisitely simple movie. Mr. Kim manages to isolate something essential about human nature and at the same time, even more astonishingly, to comprehend the scope of human experience.
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