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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    • 84 Metascore
    • 90 Critic Score
    In the Name of the Father
    And, riskiest of all, the film makers eschewed another grainy documentary go at the subject in favor of a movie drama of one of the most compelling true stories of the modern troubles.
  2. Homo Sapiens
    Each individual shot creates a frisson of desolation that resonates far beyond the facile irony suggested by the movie’s title.
    • 84 Metascore
    • 80 Critic Score
    Girl Crazy
    With George Gershwin's music and plenty of elbow room, for its twin stars, Girl Crazy is a funny, fast and completely infectious entertainment.
  4. A Ghost Story
    A Ghost Story is suspenseful, dourly funny and at times piercingly emotional.
  5. Ballast
    Shot with a sure hand and a cast of unknowns, the film doesn't so much tell a story as develop a tone and root around a place that, despite the intimate camerawork, remains shrouded in ambiguity.
  6. Volver
    Volver, full of surprises and reversals, unfolds with breathtaking ease and self-confidence. It is in some ways a smaller, simpler film than either "Talk to Her" or "Bad Education," choosing to tell its story without flashbacks or intricate parallel plots, but it is no less the work of a master.
  7. The Square
    Even though The Square depicts widely covered recent events, it still feels like a revelation. This is partly because of the immediacy of Ms. Noujaim’s approach, which often puts the viewer in the midst of chaos as it unfolds.
  8. Widows
    The result is a fascinating and sometimes frustrating hybrid, a film that tries both to transcend and to exploit its genre.
  9. Love After Love
    Elegantly shot on film by Chris Teague, the movie feels unforced and at times shockingly authentic, allowing its emotions to percolate and rise of their own volition.
  10. Love Story
    It looks to be clean and pure and without artifice, even though it is possibly as sophisticated as any commercial American movie ever made.
  11. Position Among the Stars
    Engrossing, poetic and often very funny, "Position," like its predecessors, uses the lens of a single family to view the tumult of an entire country.
    • 84 Metascore
    • 80 Critic Score
    The Venture Bros.: Radiant Is the Blood of the Baboon Heart
    If we were never to see the Ventures again, “Radiant” lets us part with them on a high note, but hopefully this end is just the beginning.
  13. Mapantsula
    Mr. Mogotlane makes Panic much more than a symbol, treating him as a raffish, amusingly overconfident figure at first and a visibly shaken man as the film progresses, until at last he utters the single syllable that encapsulates the film's final point.
  14. Synonyms
    Furious, brilliant, exhausting, Synonyms is the story of a man in self-imposed exile.
  15. Boys State
    By eliding the Legion’s history and focusing on winning personalities, the filmmakers have made an engaging movie about some kids who — as their jokes give way to debates, stratagems and even shocks — already seem to be drafting their own more interesting sequel.
    • 84 Metascore
    • 80 Critic Score
    Early Spring
    This modest classic also conveys the claustrophobia of office life better than any other film I've seen.
  17. Homicide
    Homicide, which refers to metaphorical as well as literal murder, may be Mr. Mamet's most personal and deeply felt work. It's also his most blunt and despairing. Both "House of Games" and "Things Change" deal with conspiracies of some sort. Yet the scam that is the center of this film is unconvincing.
  18. Museum Hours
    This movie is rigorously and intensely lifelike, which is to say that it’s also a strange and moving work of art.
  19. On Her Shoulders
    Alexandria Bombach’s direction and editing are exceptional; she captures images that are both subtle and formidable. Her film is, first and foremost, a profile of Murad and her mission. Yet it’s also a comment on the media and on government aid.
  20. The Bad News Bears
    Has a number of other virtues that make it a surprisingly painless adventure. Among these are the screenplay by Bill Lancaster, Burt's son, who has the talent and discipline to tell the story of The Bad News Bears almost completely in terms of what happens on the baseball diamond or in the dugout.
  21. Sense and Sensibility
    Grandly entertaining...matches the Austen-based "Clueless" for sheer fun. [13 Dec 1995]
  22. The Descendants
    To call The Descendants perfect would be a kind of insult, a betrayal of its commitment to, and celebration of, human imperfection. Its flaws are impossible to distinguish from its pleasures.
  23. First Man
    It reminds you of an extraordinary feat and acquaints you with an interesting, enigmatic man. But there is a further leap beyond technical accomplishment — into meaning, history, metaphysics or the wilder zones of the imagination — that the film is too careful, too earthbound, to attempt.
  24. The Terminator
    A B-movie with flair.
  25. Distant
    Such an accurate depiction of cramped spirits, small-mindedness and men unable to make changes in their lives takes its toll. Distant feels as if it's going nowhere in no particular hurry, and finally leaves us distant from its characters.
  26. Cat on a Hot Tin Roof
    Burl Ives, Paul Newman, Elizabeth Taylor, Judith Anderson, Jack Carson and two or three more almost work and yell themselves to pieces making this drama of strife within a new-rich Southern family a ferocious and fascinating show. And what a pack of trashy people these accomplished actors perform!
  27. Snowpiercer
    Though the movie is playfully postmodern in its pastiche of styles and its mingling of sincerity and self-consciousness, there is also something solidly old-fashioned about the way it tells its story.
  28. Old Yeller
    In this very lean and sensible screen transcription of Fred Gipson's children's book, adapted by himself and William Tunberg, a warm, appealing little rustic tale unfolds in lovely color photography. Sentimental, yes, but also sturdy as a hickory stick.
  29. Lowndes County and the Road to Black Power
    The power of the collective, more so than any individuals, is the focus here. The film is anchored with the arresting faces of Lowndes locals and Student Nonviolent Coordinating Committee organizers, who recall a range of stirring details — from setting up camp in a house with no running water to internal debates over the term “Black power.”
  30. Eephus
    It dwells in some languid liminal space between hangout movie and elegy, a tribute to the community institutions that hold us together, that introduce us to one another and that, in an age of optimized life choices and disappearing public spaces, are slowly fading away.
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