The New York Times' Scores

For 20,280 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:
20280 movie reviews
  1. Graduation is long and intense, a rigorously naturalistic film that at times feels as claustrophobic and suspenseful as a horror movie. Like Mr. Mungiu’s other work, it is a thriller of sorts, built around an excruciating ethical problem. He is unstinting in his sympathy and unsparing in his judgment.
  2. The Unknown Girl is as tense as a police procedural, and as mysterious as a religious parable.
  3. Mr. Nichols’s most distinct aesthetic choice is the movie’s quietness and the hush that envelops its first scene and that eventually defines the Lovings as much as their accents, gestures, manners and battles.
  4. With visual precision and emotional restraint — and aided by Mr. Driver’s tamped-down, sober and gently endearing performance — Mr. Jarmusch creates that rarest portrait of the artist: the one who’s happy being hard at work.
  5. Personal Shopper is sleek and spooky, seductive and suspenseful. It flirts with silliness, as ghost stories do. And also with heartbreak.
  6. Raw
    Raw, Julia Ducournau’s jangly opera of sexual and dietary awakening, is an exceptionally classy-looking movie about deeply horrifying behavior.
  7. The wonder of the movie, which Mr. Beatty wrote and directed from a story he wrote with Bo Goldman, is that it is so good-humored. Fools and idiots abound, but demonic, systemic evil does not.
  8. Zero Days has a similarly balanced outlook along with a critical political viewpoint that avoids hysteria and demagogy. Its strongest protest is against what Mr. Gibney sees as the dangers of excessive American secrecy.
  9. Even if you don’t recognize the majority of the unidentified clips assembled here, or the quotations that divide and guide them, the fascination they exert is all their own.
  10. Thanks to Ms. Haas’s truly remarkable lead performance (she was 16 at the time of filming) and Ms. Shalom-Ezer’s nuanced dialogue, Adar’s journey finally feels more like one of empowerment than victimization.
  11. Unfolding with a reticence that’s occasionally confusing, Les Cowboys presents a suggestive, almost abstract take on terror and the generational toxicity of bigotry.
  12. It takes Sean Ellis’s World War II thriller Anthropoid a while to build steam, but once it does, hang on.
  13. The result is a dazzlingly imaginative movie about survival.
  14. Many of the passages in this gentle film may be universal, but the love here is extraordinary.
  15. The movie is so perfectly acted and gorgeously filmed (the cinematographer is Julie Kirkwood) that we don’t mind its coyness; the twanging notes of trepidation make us almost grateful for the leisurely build.
  16. Revenge is the theme and cheeky is the tone of In Order of Disappearance, a delicious Norwegian film full of icy landscapes and icier hearts.
  17. Somewhere amid the film’s ornate imagery and deliriously irreverent humor, we might begin to realize that we’re watching a terrifying, incisive satire about the ways that a life lived online makes monsters of us all.
  18. Mr. Wrona is very good at thickening the air with mystery, and right from the start he slips in enigmatic details and figures — the prowling bulldozer, a keening woman, a scowling man — that disturb the ordinary scene. Like pebbles dropped in water, these disturbances create concentric circles that spread, disrupting everything.
  19. The film effectively recreates the sense of confusion over how to try to contain the leak and what might happen if the fuel ignited.
  20. The tone of the narration is so wrenchingly honest that the film never lapses into self-pity or relies on mystical platitudes.
  21. The artifice of the form works something wondrous with the material, highlighting the generic nature of our response to extreme violence.
  22. Powerful, infuriating and at times overwhelming, Ava DuVernay’s documentary 13TH will get your blood boiling and tear ducts leaking.
  23. Barry Lyndon is another fascinating challenge from one of our most remarkable, independent-minded directors.
  24. Each individual shot creates a frisson of desolation that resonates far beyond the facile irony suggested by the movie’s title.
  25. The film is a contemplation of the loneliness, tension and anxiety of outsiders pursuing a piece of the American dream.
  26. It is a fluent and knowing pastiche of genres and styles with a brazen and vigorous wit of its own.
  27. There’s much to love in this film, but what lingers are those lapidary details that often go missing in stories about great men, as if they had built the world alone and no child had ever raced down a road waving goodbye as a father disappeared into history.
  28. The movie is not really about deciding whether you’re gay or straight — those terms are never spoken. It’s about the chemistry of two people at a moment in time.
  29. The artistic quality and taste of Mr. Wyler have prevailed to make this a rich and glowing drama that far transcends the bounds of spectacle. His big scenes are brilliant and dramatic—that is unquestionable. There has seldom been anything in movies to compare with this picture's chariot race.
  30. While it’s not entirely kid-friendly, this portrait of an artist is both enchanting and thought provoking.

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