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 House Made of Splinters
    A House Made of Splinters is made with such aching sensitivity that it’s a marvel a camera was used and not some form of mind-meld.
  2. A Most Violent Year
    J. C. Chandor, the writer and director of this pulpy, meaty, altogether terrific new film, and Bradford Young, its supremely talented director of photography, succeed in giving this beat-up version of the city both historical credibility and expressive power.
  3. An Easy Girl
    Sultry, but never sleazy, observant yet nonjudgmental, An Easy Girl is more than just a tale of innocence and experience. Taking a nuanced look at sexual awakening and, to a lesser extent, class distinction, the movie has a charming flightiness that builds to an unexpectedly touching climax.
  4. I Am Love
    Often soaringly beautiful melodrama.
  5. Io Capitano
    Garrone doesn’t spare you much, but if the movie never turns into an exercise in art-house sadism, it’s because his focus remains unwaveringly fixed on his characters who, from the start, are fully rounded people, not props, symbols or object lessons.
  6. Animal House
    National Lampoon's Animal House is by no means one long howl, but it's often very funny, with gags that are effective in a dependable, all-purpose way.
  7. The Fever
    By showing us the world through Justino’s searching gaze, Da-Rin gives us an elusive but powerful sense of the limits of our own vision.
  8. Gone Girl
    At its strongest, Gone Girl plays like a queasily, at times gleefully, funny horror movie about a modern marriage, one that has disintegrated partly because of spiraling downward mobility and lost privilege. Yet, as sometimes happens in Mr. Fincher’s work, dread descends like winter shadows, darkening the movie’s tone and visuals until it’s snuffed out all the light, air and nuance.
  9. The Central Park Five
    Measured in tone and outraged in its argument, it is an emotionally stirring, at times crushingly depressing cinematic call to witness. It's also frustrating because while it re-examines the assault on the jogger and painstakingly walks you through what happened to the teenagers - from their arrest through their absolution - it fails to add anything substantively new.
  10. Mountains May Depart
    Mr. Jia’s approach means that you have to do a certain amount of interpretive work, though mostly you just have to pay attention and be a little patient. If you do, you will notice that Mountains May Depart is a movie of threes: its main characters, moments in time, narrative sections, historical symbols and even aspect ratio come in triplicate.
  11. Wagner's Dream
    Awesome also describes this 16-hour, four-opera masterwork about the creation and destruction of the world, a work that Wagner considered unstageable in his time.
  12. The Goldman Case
    Goldman is at the center, and Worthalter gives a hypnotizing performance.
  13. Kinsey
    Mr. Condon's great achievement is to turn Kinsey's complicated and controversial career into a grand intellectual drama.
  14. Sami Blood
    While Sami Blood can sometimes seem didactic, Ms. Kernell, who has Sami heritage, richly conveys a sense of the time and place, with elegant shots that glide through the Nordic wilderness.
  15. Good Luck
    Both halves feature breathtaking camera work.
  16. Flux Gourmet
    The film isn’t so much an allegory or fantasy as a witty philosophical speculation on some elemental human issues. We are animals driven by lust, hunger and aggression, but also delicate creatures in love with beauty and abstraction. Those two sides of our nature collide in unexpected, infinitely variable ways.
  17. Gabrielle
    Together with his extraordinary performers, Mr. Chéreau breathes life into characters who long ago set a course for death.
  18. Beautiful People
    Is, in the end, a boisterous love song -- a funny valentine to London, to chaos and to human decency.
  19. Madadayo
    It's not one of Kurosawa's great films.... But it is, within its own proportions, nearly perfect.
  20. War Photographer
    Documenting war is a small, partial but indispensable step toward its eventual eradication. Mr. Frei's quiet, engrossing film is a sad and stirring testimony to this vision and to the quiet, self-effacing heroism with which Mr. Nachtwey has pursued it.
  21. Sexy Beast
    He's (Kingsley) pure violence, a sociopath who radiates menace even while sitting perfectly still mouthing pleasantries.
  22. Policeman
    In Policeman, Mr. Lapid, making an electrifying feature directing debut, traces the line between the group and the individual in a story that can be read as a commentary on the world as much as on Israel.
  23. Copa 71
    Copa 71 is engrossing, but it struck me that like another documentary about a forgotten moment in history — the Oscar-winning “Summer of Soul” (2021) — this movie reveals the power of recording history for future generations.
  24. Harvard Beats Yale 29-29
    Filmmaker Kevin Rafferty makes the case for remembrance and for the art of the story in his preposterously entertaining documentary Harvard Beats Yale 29-29, preposterous at least for those of us who routinely shun that pagan sacrament.
  25. Midnight Cowboy
    Midnight Cowboy often seems to be exploiting its material for sensational or comic effect, but it is ultimately a moving experience that captures the quality of a time and a place. It's not a movie for the ages, but, having seen it, you won't ever again feel detached as you walk down West 42d Street, avoiding the eyes of the drifters, stepping around the little islands of hustlers, and closing your nostrils to the smell of rancid griddles.
  26. Dear White People
    You want to see this movie, and you will want to talk about it afterward, even if the conversation feels a little awkward. If it doesn’t, you’re doing it wrong. There is great enjoyment to be found here, and very little comfort.
  27. Ahed's Knee
    There’s no doubt that this is, in several senses, a personal film. But that doesn’t mean that the character is simply the author’s mouthpiece; one of the things that gives this movie its raw, unbalanced energy is the indeterminacy of the distance between them.
  28. Nosferatu the Vampyre
    Herzog's film seems well worth the effort to me. It's funny without being silly, eerie without being foolish and uncommonly beautiful in a way that has nothing to do with mere prettiness.
  29. Broken Flowers
    Like a perfect, short-lived love affair, its pleasure is accompanied by a palpable sting of sorrow. It leaves you wanting more, which I mean entirely as a compliment.
  30. Loving
    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.
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