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. Tony Takitani
    A delicate wisp of a film with a surprisingly sharp sting.
  2. Everlasting Moments
    The result is an experience that, even as it feels a bit familiar, is nonetheless engrossing and satisfying.
  3. The Secret World of Arrietty
    What the studio does, brilliantly, is preserve a hand-drawn look and feel in its work, as in the exteriors in The Secret World, where the characters pop against a painterly meadow.
  4. Forbidden Planet
    If you've got an ounce of taste for crazy humor, you'll have a barrel of fun.
  5. The Mastermind
    Like the overall movie, the character opens up incrementally to quiet, meaningful effect.
  6. We Come as Friends
    With an eye for landscapes stunning and hellish, [Mr. Sauper] is the rare documentary filmmaker who not only takes on tough subjects but also explores them with a vivid visual and aural approach.
  7. The Wound
    Mr. Trengove shoots the film in intimate wide-screen, getting in close to the performers as their characters tamp down explosive feelings, often letting the spectacular landscapes behind them break down into soft-focus abstractions. His direction is perfectly judged up to and including the shudder-inducing ending.
  8. Prince of the City
    Prince of the City begins with the strength and confidence of a great film, and ends merely as a good one. The achievement isn't what it first promises to be, but it's exciting and impressive all the same.
  9. Perfect Days
    Pay attention to the shadows in Perfect Days. Pay attention also to the trees, to the ways Hirayama (Koji Yakusho) looks at them. They’re as much a character in the story as he is.
    • 80 Metascore
    • 70 Critic Score
    The Gay Divorcee
    Like the carefree team of Rogers and Astaire, The Gay Divorcee is gay in its mood and smart in its approach.
  11. Four Daughters
    The re-enactments map out the family’s tension and lay bare their wounds, but the lost daughters remain cyphers — the appeal of radicalization frustratingly murky through the end.
  12. Central Station
    There's plenty of room for sentimentality here, but the wonder of Salles' film is all in the telling.
  13. The Untold Story of Emmett Louis Till
    Because federal indictments for conspiracy to murder have yet to be handed down, the documentary is necessarily discreet about naming names and detailing its evidence. A sequel would go a long way toward solving the documentary's many unanswered questions.
  14. Household Saints
    Household Saints, a warmhearted fable spiced with magic realism and zesty performances, may be the most endearing of multigenerational Italian American family sagas and is likely the most mystical.
  15. Passages
    The misery unfurls in a straight timeline of dramatic scenes that leap over the lived-in moments that make up a relationship.
  16. The Queen of Versailles
    Schadenfreude and disgust may be unavoidable, but to withhold all sympathy from the Siegels is to deny their humanity and shortchange your own. Marvel at the ornate frame, mock the vulgarity of the images if you want, but let's not kid ourselves. If this film is a portrait, it is also a mirror.
  17. Theeb
    In Jacir Eid’s extraordinary performance, Theeb exhibits the composure, bravery and cunning of a little savage driven by animal instinct.
  18. Incendies
    Mr. Villeneuve tells Nawal's story in a way that is both subtle and emphatic, and Ms. Azabal, portraying Nawal from hopeful youth to despairing middle age, gives a performance that is all the more powerful for the restrained, unshakeable sense of dignity she brings to it.
  19. The Wild Parrots of Telegraph Hill
    In Ms. Irving's affectionate film, Mr. Bittner is more of a sage than a deadbeat.
  20. The Color of Paradise
    Leans a bit too much toward the lachrymose and has a wrong-note final image.
  21. Nine Queens
    The kind of movie that seduces you into becoming putty in its manipulative card-sharking hands and making you enjoy being taken in by its shameless contrivance.
  22. A Fish Called Wanda
    The dialogue reports funny things instead of showing them. The movie remains in a limbo halfway between the informed anarchy of Monty Python comedy stripped of all social and political satire, and the comparatively genteel comedy of "The Lavender Hill Mob." [15 July 1988, p.C8]
    • The New York Times
  23. Trophy
    The intimacy of the film’s images and the surprising candor of its participants are disarming: Whatever your initial response, be prepared to re-evaluate.
  24. Incredibles 2
    The family that fights together remains the steadily throbbing, unbreakable heart of Incredibles 2, even when Bob and Helen swap traditional roles.
  25. Totally Under Control
    It elevates voices who sounded early alarms about the virus and whose warnings were lost in a din of complacency, incompetence and political calculation. Not all of these interviewees or their messages have broken through to the public consciousness.
  26. She's Beautiful When She's Angry
    As filmmaking, “She’s Beautiful” is meat and potatoes: It gets the job done without frills.
  27. Gleason
    Gleason is incredibly frank about Gleason’s physical suffering and the toll his terrifyingly implacable physical deterioration takes on his marriage.
  28. Casino Royale
    The latest James Bond vehicle -- call him Bond, Bond 6.0 -- finds the British spy leaner, meaner and a whole lot darker.
  29. Bill Traylor: Chasing Ghosts
    This documentary, directed by Jeffrey Wolf, is a plain, sincere, nourishing account of the artist.
    • 80 Metascore
    • 90 Critic Score
    Xala
    It is part fable and part satire, but it is much more: with the greatest fineness and delicacy, Mr. Sembene, the Senegalese writer and director who made this picture, has set out a portrait of the complex and conflicting mesh of traditions, aspirations and frustrations of a culture knocked askew by colonialism and distorting itself anew while climbing out.
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