The New York Times' Scores

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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:
  1. Positive: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. A Pigeon Sat on a Branch Reflecting on Existence
    If fun does not really fit into Roy Andersson’s frame of reference, there is ample pleasure to be gleaned from his formal discipline and his downbeat wit.
  2. Test Pattern
    Test Pattern achieves a lot with very little: The film’s nonlinear editing and cannily scored silences invite our interpretations, locating in them the entanglements of race and gender. Ford pushes us, if not to definitive answers, then to the right questions.
  3. R.M.N.
    The tame and the wild roam through R.M.N., nipping at its edges, adding visual texture and deepening its themes.
  4. Inherent Vice
    Mr. Phoenix’s note-perfect performance flows on the story’s currents of comedy that occasionally turn into rapids, as the funny ha-ha, funny strange back-and-forth abruptly gives way to Three Stooges slapstick.
  5. Under the Sun
    The movie raises disquieting questions, including a few that Mr. Mansky might not have meant to.
  6. Three Identical Strangers
    Mr. Wardle relates that story smoothly and persuasively, but his telling sometimes provokes more questions than it answers.
  7. Wrinkles
    Unfolding in simple yet wonderfully expressive hand-drawn frames, the film’s unsparingly observant plot depicts the slide into senility with empathy and imagination.
  8. Little Trouble Girls
    Djukic has a fine eye and is a talent to look out for, even if here, like Ana-Maria, she chose the wrong girl.
  9. Revenge
    Revenge leaves a lurid, punchy afterimage, an impression somewhere between righteous delight and quivering revulsion. It’s both a challenge and a calling card, in which Ms. Fargeat at once exposes what’s wrong with her chosen genre and demonstrates her mastery of it.
  10. Tina
    You may believe you know Turner’s tale. And you may be right. It is retold well here, but the most moving portions — and they could bring tears to your eyes — come as Turner, almost 80 at the time of this interview (and as beautiful as she has ever been), wearing a tailored black suit, sits and discusses where she’s at now.
  11. American Fiction
    To make good on his movie’s message, Jefferson is determined to give space to the moments of Monk’s life that don’t hinge on race at all.
  12. Il Divo
    As operatic cinema, it ranks alongside the best of Martin Scorsese and Francis Ford Coppola.
  13. Leviathan
    Leviathan, a product of the Sensory Ethnography Lab at Harvard, offers not information but immersion: 90 minutes of wind, water, grinding machinery and piscine agony.
  14. Fish Tank
    The contradictions of adolescence have rarely been conveyed with such authenticity and force.
  15. Sweetie
    Sweetie looks like a small movie, and in every measurable way it is, but it possesses remarkable strength and tenacity.
  16. Little Shop of Horrors
    Little Shop of Horrors isn't uniformly entertaining, nor is its score always entirely audible; the musical dubbing is at times very awkward. But its best moments are delightful enough to make the slow stretches unimportant.
    • 81 Metascore
    • 70 Critic Score
    Variety Lights
    As a straightforward comedy-drama about the vicissitudes of the principals in a small-time tab show or traveling vaudeville troupe, this is wholesome corn. But it is highly palatable fare, which, in its story line, hews more to the type of films subsequently made by Mr. Lattuada.
  18. The Things You Kill
    Debts to Luis Buñuel and David Lynch are obvious, but The Things You Kill has its own way of getting inside its protagonist’s head space — and yours.
  19. Bring Your Own Brigade
    It’s a tough, smart, impressive movie, and one of its virtues is that Walker, a British transplant to Los Angeles, doesn’t seem to have figured it all out before she started shooting.
  20. No
    Marshall McLuhan called advertising the greatest art form of the 20th century. In No, Pablo Larraín’s sly, smart, fictionalized tale about the art of the sell during a fraught period in Chilean history, advertising isn’t only an art; it’s also a way of life.
  21. Riders of Justice
    In the end, Jensen opts for feel-good fantasy over hardened truths, but his dizzyingly chaotic methods amount to a dynamic, unexpectedly touching ode to the difficulties of baring your vulnerabilities to genuinely overcome them.
  22. Best Worst Thing That Ever Could Have Happened
    Because “Merrily” was a musical about the ravages of time on friendship and youthful ideals, the documentary tells parallel stories — one fictional, the other real — of disappointment and disillusion. They give the film a double shot of poignancy.
  23. A River Below
    The truth turns into a tangled mess in A River Below, a bold and urgent documentary whose seemingly straightforward story quickly runs awry.
  24. A Crime on the Bayou
    in covering the repercussions of the branching cases, A Crime on the Bayou shows how superficially straightforward, courageous acts — like refusing to plead guilty unjustly or defending the unjustly accused — are hard.
  25. The China Syndrome
    James Bridges's smashingly effective, very stylish suspense melodrama.
  26. My Architect
    The son's search is one of three strands of a story that the movie weaves into a meticulously structured portrait of a complicated man who remains elusive even after key elements of the puzzle have been pieced together.
  27. In Fabric
    The film spaces out several nasty and effective frights. And as its narrative seems to deliberately devolve into a dissociative dream, even the funny material hits with a choke in the throat.
  28. Hot Fuzz
    Since Mr. Wright and Mr. Pegg are essentially parodying self-parodies, they have also smartly kinked up their conceit by setting most of the film in a sleepy village that might as well be called Ye Old English Towne, thereby wedding one of the most irritating British exports to one of the most absurd American ones. Think of it as "The Full Monty" blown to smithereens.
  29. Police, Adjective
    So much in this meticulous and moving film is between the lines, and almost nothing is by the book.
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