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. Toni Morrison: The Pieces I Am
    It’s less a biography than an extended essay, which is entirely a good thing. If you want a thorough documentation of everything Morrison has done and everyone she knows, there’s always Wikipedia. But if you’d prefer an argument for her importance and a sense of her presence, then you won’t be disappointed.
  2. Taylor Swift: The Eras Tour
    It’s a shame that the shots here are all over the place — the stage, the sky, too close, too far, too kinetic; only occasionally, in medium close-ups, just right. The director is Sam Wrench, and it’s unclear whether he’s making a movie or a salad. Under the circumstances, he’s done the best he probably could.
  3. Peter Hujar's Day
    The result is a charming experiment that should delight those who like their pleasures both nostalgic and voyeuristic.
  4. Night of the Kings
    Lacôte crosses the open-ended energy of griot traditions with the surging tensions of the prison’s close quarters.
  5. Billy Liar (re-release)
    One of the great movies of the 1960's, but it has been, in this country at least, maddeningly elusive. In spite of its bitter edge, Billy Liar is pure Ambrosia.
  6. Flirting with Disaster
    Mr. Russell's wonderfully mad odyssey of a movie, in which a man sets out to find his biological parents and winds up meeting more weirdos than Alice found down the rabbit hole.
  7. Rivers and Tides: Andy Goldsworthy Working with Time
    As the film's images accumulate, the movie becomes a sustained and ultimately refreshing meditation on surrender to the idea of temporality.
  8. These Birds Walk
    The filmmakers record the flash of youth’s headlong energies, its bumps and bruises, and its melancholies and brilliant chaos.
  9. The Second Mother
    The Second Mother goes soft toward the end, defusing its conflicts too easily and inconsequentially.
  10. Nowhere to Hide
    The look is rough, the emotions always hovering near the surface. Yet, buoyed by Mr. Sharif’s cheery personality, these can sometimes be defiantly upbeat.
  11. Window Horses
    At first, Rosie’s simplicity is jarring. But as the character learns more about her personal and poetic origins, her minimalist frame absorbs the weight of a rich, complex history. That transformation is the great pleasure of watching this small film.
  12. Barbara Rubin and the Exploding NY Underground
    An informative and overdue documentary.
  13. Three Times
    Taiwanese director Hou Hsiao-hsien's hypnotically beautiful cinematic trilogy Three Times doesn't just illuminate faces and objects; it seems to fill them up, as if they were lighted from within.
  14. Anselm
    A film like Anselm is another level of preservation as well as a contemplative experience, in which the past and the future meet, in a way we can feel as much as see.
  15. Hit Man
    It’s radiant and loose and confident, the kind of movie that you can just tell was a blast to make, which makes it a blast to watch. As our overstuffed big-budget era starts to falter, let’s hope they start making movies like this again.
  16. Ghostlight
    It’s a gentle story, full of tender moments, and knowing that the parents and daughter in the main cast are a family in real life increases the warmth.
  17. Afire
    The German filmmaker Christian Petzold’s spiky and at times mordantly funny Afire is a tonic for moviegoers tired of nice, squishable, likable, relatable dull and dull characters.
  18. Ajami
    One of the pleasures of Ajami, a tough and in many ways unsparing movie, is its deep immersion in the beats and melodies of everyday life in Jaffa and beyond.
  19. Wrestle
    Wrestle isn’t slick or impartial, and doesn’t claim to be, yet the movie has a raw honesty that disdains forced uplift.
  20. Viola
    The mischievous paradox of Matías Piñeiro’s Viola is that it is at once devilishly complicated and perfectly simple.
  21. The Cathedral
    What distinguishes Jesse’s story is the striking way that the writer-director Ricky D’Ambrose tells it — its ellipses, voice-over, visual precision and an emotional reserve that can feel like clinical detachment but is more rightly described as an aesthetic.
  22. 127 Hours
    Mr. Boyle has a knack for tackling painful, violent or unpleasant subjects with unremitting verve and unstoppable joie de vivre.
  23. Twilight
    It’s a style so minimalist, it approaches maximalism — and this combination of pulp and precision creates an arresting and unique work of film noir.
  24. Tell No One
    Beautifully written and acted, Tell No One is a labyrinth in which to get deliriously lost.
  25. The Illusionist
    The Illusionist is both a modest homage to its writer and a melancholy look at a lost world.
  26. Riotsville, U.S.A.
    This is not an objective film. It is a polemic, a work of activism, a challenge to the viewer.
  27. Mars One
    Dreams are incubators for dissatisfaction, Martins seems to sigh.
  28. Paying for It
    Paying for It keeps its narrative tight, perhaps overly simple. There’s space to savor the retro intimacy, amplified by the film’s striking primary colors and lo-fi rock soundtrack. Lee — while only gesturing toward the complexities of open arrangements — captures Chester and Sonny in a fleeting time that feels soft, but not shy.
  29. The Deep Blue Sea
    To put the matter perhaps more abstractly than such a sensual film deserves, it is about the fate of untameable, irrational desire in a world that does not seem to have a place for it.
  30. The End of the Tour
    It’s ultimately a movie — one of the most rigorous and thoughtful I’ve seen — about the ethical and existential traps our fame-crazed culture sets for the talented and the mediocre alike.
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