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. Much Ado About Nothing
    He has taken a Shakespearean romantic comedy, the sort of thing that usually turns to mush on the screen, and made a movie that is triumphantly romantic, comic and, most surprising of all, emotionally alive.
  2. Concerning Violence
    The energy here feels more like that of a lecture than of a film; it’s an analytical tonic that’s potent to the point of bitter.
  3. Kokuho
    Even as it periodically languishes, the film comes back around, with some moving flourishes, to stamp its idea: To witness these vicissitudes over a lifetime, is to see the beauty, bloodshed and loneliness of true artistic greatness.
  4. Cane River
    The movie itself, which was lost until a few years ago, is relaxed, reflective and sweet, a romance shadowed by the complexities of history, race and politics that manages to be both modest and ambitious.
  5. Big Night
    The film is loaded with brotherly affection and with warm, funny and poignant evocations of a gentler time.[20 September 1996, p.C12]
  6. Paper & Glue
    In 2017, JR was half of the delightful tag-team of “Faces Places,” the Oscar-nominated documentary he and the groundbreaking director Agnès Varda made in the French countryside. Paper & Glue, while not as tender a romp, is a sequel in spirit. Faces and their places continue to matter.
  7. The Citizen
    The film, directed by Roland Vranik from a script by Mr. Vranik and Ivan Szabo, is a careful, compassionate and beautifully acted character drama with a social conscience.
  8. 3:10 to Yuma
    A good, lively script has been written by Halsted Welles, and sharp, business-like direction has been contributed by Delmer Daves.What's more, the whole thing is neatly acted.
  9. The Strange Little Cat
    Mr. Zürcher has concocted something intimate yet otherworldly with this highly original debut.
  10. Saraband
    Ms. Ullmann, now 65, and Mr. Josephson, 81, have a supreme mastery of the Bergman style. Their performances are spiritual and emotional X-rays.
  11. Ad Astra
    Ad Astra is unambiguously a film of its moment, one about a man’s struggle for personal meaning and a place in the world in a time of fallen fathers.
  12. Brute Force
    Jules Dassin's steel-springed direction keeps the whole thing approriately taut.
  13. On the Beach at Night Alone
    Ms. Kim is simultaneously an ordinary woman and a melodramatic heroine, her performance made more layered and intriguing by the intimation that she may be playing herself.
  14. The Secret of Roan Inish
    What prevents "The Secret of Roan Inish" from evaporating into cuteness or from being smothered in mystical overkill is the director's firmly human perspective.
  15. Nine Lives
    Together, however, they add up to a film that may be the closest movies have come to the cinematic equivalent of a collection of Chekhov short stories.
  16. Charlie: The Life and Art of Charles Chaplin
    Very much a writer's film: Mr. Schickel's elegant, occasionally knotty prose, read by Sidney Pollack, offers a clear, nuanced interpretation of the artist's work in relation to his life.
  17. In the Company of Men
    It exaggerates real, recognizable attitudes in a manner that intends to be disturbing.
  18. A Bronx Tale
    A Bronx Tale offers a warm, vibrant and sometimes troubling portrait of the community it describes. Almost everyone within that community sounds a little bit like Robert De Niro except Mr. De Niro himself.
  19. Love & Mercy
    Love & Mercy doesn’t claim to solve the mystery of Brian Wilson, but it succeeds beyond all expectation in making you hear where he was coming from.
  20. Story of My Death
    Mr. Serra has said his film portrays the eclipse of Enlightenment rationality by the violent forces of Romanticism. It’s a tidy overarching conceit, but the film’s lived-in feel does make for one vivid way of imagining shifts in thought.
  21. Pervert Park
    To be sure, nothing in this film is easy to hear. But that doesn’t mean that it shouldn’t be said, and learned from.
  22. Nossa Chape
    The movie the directors have made doesn’t have the passion that its subjects do.
  23. Taste of Cherry
    Exquisite.
  24. Mad Bills to Pay (or Destiny, dile que no soy malo)
    In his first feature, the writer and director Joel Alfonso Vargas takes a rather unremarkable premise and unspools it with sedulous care.
  25. Natchez
    Maybe telling the whole story doesn’t mean living happily ever after, but at least it can mean being a little wiser.
  26. Bugsy
    Allen Daviau's camera work and Albert Wolsky's costumes help to forge the film's high style, as does Ennio Morricone's score. But much of its elan comes from Mr. Levinson's obvious affection for the time and place that are his film's backdrop, and from the flair with which he stages even minor episodes.
  27. Costa Brava, Lebanon
    If a fuller sense of their humanity is sometimes lost to the ideas they serve, Akl has nonetheless produced a smart and sensitive film.
  28. American Honey
    American Honey, long and messy as it is, is by turns observant and exuberant, and sweet in a way that is both unexpected and organic.
  29. You Hurt My Feelings
    This is a work of discipline and structure. It’s a situation comedy in the best, classical sense: These people’s ethical problems are sometimes ours. I’ve been Beth. I’ve been Don. And I had to watch half of what they’re dealing with through my fingers.
  30. Louis Armstrong's Black & Blues
    The film is a trove of Armstrong’s love of music and his labor. And because so many of those who lend their insights are now departed, it has the feel of a mausoleum worthy of a humble yet celebratory “Saints Go Marching In” second line.
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