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. Aquarela
    The movie, like the elemental forces we continue to exacerbate, never explains itself. Surrender to it, though, and a narrative - of spectacle, conflict and retaliation - will eventually become clear.
  2. The Pearl Button
    A master of voice-over and metaphor (the title alone has an amazing payoff), [Mr. Guzmán] sifts through essential truths and draws links between Chile’s past and present inhabitants.
  3. Deep Water
    Again and again you want to shout at the screen: “Turn back. All will be forgiven.” This tale of risk, though, ends not with man conquering nature but in calamitous failure.
  4. The Force
    The movie may offer an incriminatory catalog of organizational failure, but it also repeatedly shows people trying to make the system work.
  5. Lorna's Silence
    Lorna's Silence is engrossing and powerful, which may be just another way of saying it's a film by the Dardenne brothers. If it falls a bit short of the standards of their best work, that is only because it is not quite a masterpiece.
  6. California Typewriter
    This quirky, obsessive documentary is about so much more than broken keys and busted type wheels. It’s really about how we create art.
  7. Other People's Children
    Zlotowski is telling a story about a specific woman. She’s also telling a complex, bruising, much larger and quietly self-aware story about both the messiness of life and the fragility of bodies that exist in the real world, not just in fantasies.
  8. Bantú Mama
    It’s a quiet film that stays close to the central characters, but it could have benefited from broadening its view, giving context to some of the issues presented in the film — in particular how Blackness is perceived and experienced on the island.
  9. The Day of the Jackal
    The details are minutely observed and, to me, just a bit boring.
  10. Holiday
    Because Eklof’s approach is formally very clean, showing some genuine, intriguing detachment, I’m apt to prefer it to Seidl’s work. But not by much.
  11. I Am Not a Witch
    The film is perhaps overly repetitive in emphasizing Shula’s inability to escape exploitation, but the story is put across with formal confidence and real originality.
  12. Deliverance
    An action melodrama that doesn't trust its action to speak louder than words.
  13. Cutting Through Rocks
    Sara Khaki and Mohammadreza Eyni, who directed and edited the documentary, with Eyni also serving as cinematographer, have made a film that pulses with so much hopefulness that when Shahverdi’s story takes a shocking turn, it’s a punch to the solar plexus.
  14. Clouds of Sils Maria
    The three women in Clouds of Sils Maria love, talk and move, move, move, sharing lives, trading roles and performing parts. The lives they lead are messy and indeterminate, but each woman’s life belongs to her.
  15. Coraline
    Coraline lingers in an atmosphere that is creepy, wonderfully strange and full of feeling.
  16. The Uncondemned
    Most extraordinary are interviews with the women who came forward to provide evidence in court. Their integrity and tenacity, and their loyalty to one another, is enough to bring you to tears.
  17. A Still Small Voice
    It’s human and messy — and it’s divine.
  18. Demon
    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. Gasoline Rainbow
    There’s an uncommon sweetness to this film, which is less about running away from something and more about discovering the road of life is littered with goodness, if you know where to look.
  20. Eternity and a Day
    All things being relative, this is a dreamy, lulling film but also a more concise and straightforward one than the magnificently grandiose Ulysses' Gaze, the Angelopoulos opus that directly preceded it.
  21. The Ice Tower
    The Ice Tower is ultimately too glacial and secretive to fully satisfy. The real magic here lies in Jonathan Ricquebourg’s dazzlingly chilly images, and two leads as compelling as the fantasy that set them in motion.
  22. Light From Light
    Light From Light reveals it’s far more interested in human concerns than metaphysical ones.
  23. Introducing, Selma Blair
    The greatest asset of the film is its ability to simulate the intimacy of disclosure, and Blair’s comfort with the camera — her actress-y will to entertain — makes her a uniquely endearing subject.
  24. Too Late to Die Young
    Too Late to Die Young is above all an achievement in mood and implication. Sotomayor has a way of structuring scenes and composing images that makes everything perfectly clear but not obvious.
  25. Goodbye First Love
    Mr. Urzendowsky, with his dark curls, fine cheekbones and sad eyes, is a very credible first love, while Ms. Créton uncannily captures Camille's resolution as well as her almost willful vulnerability.
  26. Little Miss Sunshine
    Tucked in between all the hurt and the jokes, the character development and the across-the-board terrific performances is a surprisingly sharp look at contemporary America.
  27. The Endless
    The Endless rewards patience with mind-bending twists and turns.
  28. Indivisible
    The performances of the young actors who play them (actual twins, though not conjoined) are the real miracles here, each one creating a distinct personality.
  29. Sweetgrass
    In Sweetgrass, a graceful and often moving meditation on a disappearing way of life, there is little here that is objective and much that is magnificent.
  30. All Is Well
    Trobisch has made a drama of tragic accommodation — limited not to one woman’s sexual assault, but to the everyday interactions that all women must navigate carefully.
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