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. The Waiting Room
    Scrupulously apolitical, The Waiting Room is the opposite of a polemic like Michael Moore's "Sicko." But by removing any editorial screen, it confronts you head-on with human suffering that a more humane and equitable system might help alleviate.
  2. Stray Dogs
    Until it goes haywire with the cabbage scene, Stray Dogs sustains a hypnotic intensity anchored in exquisite cinematography that portrays the modern industrial cityscape as a chilly wasteland.
  3. The Rescue
    The mechanics of the operation boggle the mind, and in presenting them so elegantly, Vasarhelyi and Chin offer more edge-of-your-seat drama than most thrillers — certainly enough to make the Hollywood version in the works from Ron Howard feel surplus to requirements before cameras have even rolled.
  4. Universal Language
    It’s a pensive meditation in an era of displacement, even if the film never tries to make a big point. The mood is palpable, and the meditation legible, even if Winnipeg and Iranian cinema are to you as remote as a chilly winter moon.
  5. Together
    One of the most pleasant foreign films of the year, a funny, graceful and immensely good-natured work.
  6. Dracula: Pages from a Virgin's Diary
    For all its eccentricities and technical quirks, Dracula is a compelling expressionistic work.
  7. 13 Assassins
    A stirring, unexpectedly moving story of love and blood.
  8. Northern Light
    There’s a stillness to the filmmaking, coupled with Saunder Jurriaans and David Bensi’s truly lovely original score, that lends specific shots... a near-heartbreaking melancholy.
  9. The Disappearance of Shere Hite
    Nicole Newnham’s film recoups Hite’s story from the margins of feminist history with both style and substance, taking its cue from its subject.
  10. Boxing Gym
    Pugilists and philosophers of all kinds converge in Frederick Wiseman's mesmerizing documentary Boxing Gym.
  11. The Blue Caftan
    Touzani’s film becomes an ode to the many kinds of love that persist, even in an unforgiving world.
  12. Guy and Madeline on a Park Bench
    Visually distinctive and aurally delightful, "Guy and Madeline on a Park Bench" has style to burn. A soulful black-and-white commentary on love, art and their competing demands, this Boston-based musical from Damien Chazelle floats on a wave of spontaneity and charm.
  13. Crazy Heart
    A small movie perfectly scaled to the big performance at its center.
  14. The Fool
    The Fool is a hard movie to shake.
    • 83 Metascore
    • 50 Critic Score
    The Wrong Man
    Frighteningly authentic, the story generates only a modicum of drama.
  16. Stray
    The filmmaker's eyes may rarely leave the dogs, but what she’s really looking at is us.
  17. Goodbye, Dragon Inn
    Has a quiet, cumulative magic, whose source is hard to identify. Its simple, meticulously composed frames are full of mystery and feeling; it's an action movie that stands perfectly still.
  18. De Palma
    Like any good work of criticism, De Palma will be catnip for passionate fans while also serving as a primer and a goad for the skeptical and the curious. Mr. De Palma is remarkable company — witty, insightful and neither unduly modest nor overbearingly vain.
  19. Local Hero
    Local Hero is a funny movie, but it's more apt to induce chuckles than knee-slapping. Like Gregory's Girl, it demonstrates Mr. Forsyth's uncanny ability for making an audience sense that something magical is going on, even if that something isn't easily explained.
  20. The Exorcist
    The care that Mr. Friedkin and Mr. Blatty have taken with the physical production, and with the rhythm of the narrative, which achieves a certain momentum through a lot of fancy, splintery crosscutting, is obviously intended to persuade us to suspend belief. But to what end? To marvel at the extent to which audiences will go to escape boredom by shock and insult.
  21. A Little Princess
    Shaking off the solemnity that smothers many a well-meaning, high-minded family film, this one revels in an exuberant sense of play, drawing its audience into the wittily heightened reality of a fairy tale. The material, like the title, is a tad precious, but the finished film is much too spirited and pretty for that to matter.
  22. His Three Daughters
    Jacobs’s women are at once clinging to the past and looking toward the future. It’s the present that proves so extraordinarily difficult for them, a truth that Jacobs beautifully conveys in a movie that is very much about agonizing loss yet is also, fundamentally, about what it simply takes to keep on living.
  23. Custody
    Mr. Legrand is skilled in the techniques of dread and suspense, and without sensationalizing or cheapening the story, he gives this closely observed drama the tension and urgency of a thriller.
  24. Under the Shadow
    War may be terrible, but for a woman like Shideh there’s no horror like home.
  25. Voyages
    This movie operates in the limbo between memory and oblivion that we recognize as daily life. It bears courageous and stringent witness to the impossibility of bearing witness.
  26. Adaptation.
    I realize that the fear of contracting writer's block from a fictional character is crazy, but in the brilliantly scrambled, self-consuming world of Adaptation it has a certain plausibility.
  27. Fighter
    In juxtaposing two extraordinary personal histories, it ponders in a refreshingly original way unanswerable questions about memory, imagination, history and that elusive thing we call truth.
  28. Baby Doll
    Mr. Kazan keeps the courtship bouncing between the emotional and the ludicrous. The nonchalance of the pursuer is its most entertaining grace.
  29. The Snapper
    A small, joyful lark of a film.
  30. The Forbidden Room
    On one viewing, at least, it is a typically impenetrable Maddin film: zany one minute, pompous the next. Ardent Maddin admirers, of whom I am not one, might discern a grand design of what often feels like a post-Freudian horror comedy.
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