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. Enron: The Smartest Guys in the Room
    A tight, fascinating chronicle of arrogance and greed.
  2. The Shawshank Redemption
    There are times when The Shawshank Redemption comes dangerously close to sounding one of those "triumph of the spirit" notes. But most of it is eloquently restrained.
  3. Vortex
    Among the comforts Vortex refuses is the bittersweet balm of nostalgia. It’s a blunt reckoning with the inevitability of loss, including the loss of memory. We dream for a while, and then we sleep.
  4. There Is No Evil
    To make a movie that ponders the moral rot of an unjust system while under the gun of that unjust system is courageous and artistically potent.
  5. Thieves Like Us
    Thieves Like Us is such an engaging, sharply observed account of a long-lost time, and of some of the people who briefly inhabited it, that I hope it doesn't get confused with other films that seem, superficially anyway, to have covered the same territory.
  6. Acasă, My Home
    It’s both intimate and analytical, a sensitive portrait of real people undergoing enormous change and a meditation on what that change might mean. It taps into something primal in the human condition, a basic conflict between the desire for freedom and the tendency toward organization — an argument, finally, about the meaning of home.
  7. Safe Conduct
    The movie is full of juices that give it a healthy, pungent flow.
  8. El Velador
    Natalia Almada's eloquent documentary portrait of a sprawling graveyard in Culiacán, Mexico, in the northwestern state of Sinaloa. The rapidly expanding cemetery has become the burial ground of choice for the country's slain drug lords.
  9. Maiden
    A sleek, exhilarating documentary.
  10. War for the Planet of the Apes
    There is a scene toward the end of War for the Planet of the Apes that is as vivid and haunting as anything I’ve seen in a Hollywood blockbuster in ages, a moment of rousing and dreadful cinematic clarity that I don’t expect to shake off any time soon.
  11. Duma
    A soulful, piercingly beautiful story.
  12. The Constant Gardener
    This is a supremely well-executed piece of popular entertainment that is likely to linger in your mind and may even trouble your conscience.
  13. You Won't Be Alone
    You Won’t Be Alone, the ravishing, wildly original first feature from Goran Stolevski, moves so hypnotically between dream and nightmare, horror and fairy tale that, once bound by its spell, you won’t want to be freed.
  14. Grand Tour
    Beauty is pleasurable, but the film’s use of evocative visuals to focus on storytelling more broadly is what makes it a quiet knockout.
  15. Short Term 12
    Even as the gathering melodramatic storms threaten to swamp this pungent slice of life, Mr. Cretton manages to earn your tears honestly.
  16. Parenthood
    Ron Howard's bittersweet adult comedy, Parenthood, lays out an entire catalogue of psychological stresses afflicting family life in white middle-class America, then asks if the rewards of being a parent are worth all the agony.
  17. Two of Us
    Through the use of symbolic peepholes, eavesdropping and dark rooms that provide cover for whispered assurances of devotion, Two of Us succeeds as a stealthy depiction of lesbian erotics, one that mirrors the inhibitions of a generation.
  18. Street Gang: How We Got to Sesame Street
    Even those resistant to easy nostalgia will find plenty to think about.
  19. Residue
    Gerima’s challenging, engrossing filmmaking style is measured, simultaneously realistic and impressionistic. What’s out of the frame is often as important, if not more important, than what’s in the frame.
  20. House of Hummingbird
    Kim works like a pointillist with lots of short scenes and daubs of textured nuance that build the portrait incrementally.
  21. What Do We See When We Look at the Sky?
    Pleasing, exasperating, poignant and coy, “What Do We See” is a loose, exceedingly leisurely meander through a series of momentous and banal moments that take place during an amble through the Georgian city of Kutaisi.
  22. A History of Violence
    A masterpiece of indirection and pure visceral thrills, David Cronenberg's latest mindblower, A History of Violence, is the feel-good, feel-bad movie of the year.
  23. Star Wars: Episode V - The Empire Strikes Back
    The Empire Strikes Back is not a truly terrible movie. It's a nice movie. It's not, by any means, as nice as "Star Wars." It's not as fresh and funny and surprising and witty, but it is nice and inoffensive and, in a way that no one associated with it need be ashamed of, it's also silly.
  24. Our Beloved Month of August
    The whole turns out to be less than the sum of its elegantly constructed and cleverly uncategorizable parts.
  25. Grand Theft Hamlet
    It’s surprisingly moving, more a testament to the human drive toward community and connection in even the most unexpected of spaces.
  26. Joyland
    Outrage works in the movie’s favor; this polite weepie needs the added spice. While about an unconventional affair, the movie is more interested in suppression and restraint.
  27. Sugar
    It is both sad and hopeful, but the film's sorrow and its optimism arise from its rarest and most thrilling quality, which is its deep and humane honesty.
  28. Marwencol
    Four years in the making, Marwencol emerges as a number of things: an absorbing portrait of an outsider artist; a fascinating journey from near-death to active life; a meditation on the brain's ability to forge new pathways when old ones have been destroyed.
  29. The Wind That Shakes the Barley
    The history presented in The Wind That Shakes the Barley hardly feels like a closed book or a museum display. It is as alive and as troubling as anything on the evening news, though far more thoughtful and beautiful.
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