The New York Times' Scores

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For 20,269 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 20269
  2. Mixed: 8,428 out of 20269
  3. Negative: 2,464 out of 20269
20269 movie reviews
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  1. La La Land
    La La Land succeeds both as a fizzy fantasy and a hard-headed fable, a romantic comedy and a showbiz melodrama, a work of sublime artifice and touching authenticity.
  2. Petite Maman
    With delicacy, minimal dialogue and lucid, harmoniously balanced images, Sciamma (“Portrait of a Lady on Fire”) invites you into a world that is by turns ordinary and enigmatic.
  3. Lady Bird
    You might think you’ve seen this all before. You probably have, but never quite like this. What Ms. Gerwig has done — and it’s by no means a small accomplishment — is to infuse one of the most convention-bound, rose-colored genres in American cinema with freshness and surprise.
    • 93 Metascore
    • 80 Critic Score
    The Magnificent Ambersons
    All in all, The Magnificent Ambersons is an exceptionally well-made film, dealing with a subject scarcely worth the attention which has been lavished upon it.
  5. Reversal of Fortune
    What makes it so instructively entertaining is the pivotal character of Claus von Bulow, played by Jeremy Irons within an inch of his professional life. It's a fine, devastating performance, affected, mannerly, edgy, though seemingly ever in complete control. [17 Oct 1990]
    • The New York Times
    • 93 Metascore
    • 60 Critic Score
    Rio Bravo
    Despite its slickness, virility, occasional humor and, if it may be repeated, authentic professional approach, it is well-made but awfully familiar fare.
  7. All We Imagine as Light
    One of the pleasures of Kapadia’s filmmaking is that she’s inviting you to discover her characters on their terms, which means embracing the inner and outer rhythms of their lives.
  8. David Byrne’s American Utopia
    Some filmed stage shows die on the screen from a sheer lack of visual energy and invention. Lee, a master of the art, uses cinema’s plasticity to complement this production, making it come alive in two dimensions.
  9. Masculine Feminine
    This document of youthful confusion has not aged one minute. If anything, its detached, discursive and sympathetic observation of the earnest foolishness of post-baccalaureate, pre-1968 Parisians is more acute, and more prophetic, than ever.
  10. Shoplifters
    In the past, Kore-eda’s delicacy has at times enervated his movies. Here, though, the family’s toughness, thieving and secrets, its poverty and desperation, work like ballast on his sensibilities. In their grubby imperfections, Kore-eda finds a perfect story about being human.
  11. Shoah: Four Sisters
    Their stories are as harrowing, complicated and rife with imponderables as any Lanzmann filmed. And together, collected in a form that is much less labyrinthine than “Shoah,” they represent an ideal introduction (and capstone) to Lanzmann’s project.
    • 93 Metascore
    • 50 Critic Score
    Duck Soup
    A production in which the bludgeon is employed more often than the gimlet. The result is that this production is, for the most part, extremely noisy without being nearly as mirthful as their other films.
    • 93 Metascore
    • 100 Critic Score
    The 39 Steps
    By comparison with the sinister delicacy and urbane understatement of The Thirty-nine Steps, the best of our melodramas seem crude and brawling.
  14. Toni Erdmann
    Toni Erdmann, proceeding in a perfectly straightforward manner, from one awkward, heartfelt, hilarious scene to the next, wraps itself around some of the thorniest complexities of contemporary reality.
  15. No Other Land
    Its subject — the Israeli-Palestinian conflict — couldn’t be more consequential, and its approach, which includes a directorial team of two Israelis and two Palestinians, feels genuinely daring and bold.
  16. Uncut Gems
    Lots of stuff happens, lots and lots, and some of it can be hard to track. But the bedlam is intentional and amusing. All you need to do is latch onto Howard as he runs from here to there, yelling greetings, taking calls, making deals, always moving amid jump cuts, zooms and lurid close-ups.
  17. McCabe & Mrs. Miller
    I don't automatically object to contemporary allusions, but I prefer to find them myself, and McCabe and Mrs. Miller is so busy pointing them out to us that the effect is to undercut its narrative drive and the dignity of its fiction.
  18. Inside Llewyn Davis
    This is not a biopic, it’s a Coen brothers movie, which is to say a brilliant magpie’s nest of surrealism, period detail and pop-culture scholarship. To put it another way, it’s a folk tale.
  19. The Best Years of Our Lives
    It is seldom that there comes a motion picture which can be wholly and enthusiastically endorsed not only as superlative entertainment but as food for quiet and humanizing thought.
    • 93 Metascore
    • 90 Critic Score
    Band of Outsiders
    "All you need to make a movie is a girl and a gun," Godard famously asserted, and Band of Outsiders, his seventh feature, is his demonstration of how to concoct a film out of the materials at hand.
  21. Stagecoach
    Here, in a sentence, is a movie of the grand old school, a genuine rib-thumper and a beautiful sight to see.
  22. Our Body
    Simon’s belief in the interconnectedness yet singularity of the varied patients is palpable. She rewards our patience with a deeper understanding of our bodies and ourselves.
  23. The Burial Of Kojo
    The Burial of Kojo is a near-virtuoso work, a feast of emotion, nuance and beauty, and a startling feature directing debut.
  24. The Life and Death of Colonel Blimp (1945)
    Colonel Blimp is as unmistakably a British product as Yorkshire pudding and, like the latter, it has a delectable savor all its own.
  25. Days of Being Wild (re-release)
    As he (Wong Kar-wai) floods the screen with beauty and fills the soundtrack with hypnotic rhythms, he forges a filmmaking style of incomparable eroticism.
  26. Two Seasons, Two Strangers
    Li, carrying a camera she has inherited, appears to search for inspiration in her surroundings, too. Whatever elusive quality she is seeking, Miyake has found something like it. His film gently balances tidiness and looseness, connection and alienation and artifice and the natural world.
  27. TÁR
    To search the movie for a consistent argument is to miss the point and fall into a category error, misconstruing the extraordinary coup that Field and Blanchett have pulled off. We don’t care about Lydia Tár because she’s an artist; we care about her because she’s art.
  28. Sherpa
    An exceptionally absorbing documentary.
  29. There Will Be Blood
    The film is above all a consummate work of art, one that transcends the historically fraught context of its making, and its pleasures are unapologetically aesthetic. It reveals, excites, disturbs, provokes, but the window it opens is to human consciousness itself.
    • 93 Metascore
    • 90 Critic Score
    Tristana (re-release)
    Buñuel has made a marvelously complex, funny and vigorously moral movie that also is, to me, his most perfectly cast film. [21 Sept. 1970]
    • The New York Times
      • Posted Feb 21, 2013
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