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. Film About a Father Who
    [A] brisk, prismatic and richly psychodramatic family portrait.
  2. Deep Sea
    The soothing voices of Johnny Depp and Kate Winslet provide the informative yet often uninspired narration. And Danny Elfman's mystical sounds serve up just the right atmosphere for this almost complete immersive experience, during which adults will be made into giggling children, and children into aspiring marine biologists.
  3. The American Friend
    Like Taxi Driver, The American Friend was a new sort of movie-movie — sleekly brooding, voluptuously alienated and saturated with cinephilia.
  4. The Fighter
    With solid bodywork, clever feints and tremendous heart, it scores at least a TKO, by which I mean both that it falls just short of overpowering greatness - I can't quite exclaim, "It's a knockout!" - and that the most impressive thing about it is technique.
  5. Jodorowsky's Dune
    Cheerfully partial and unapologetically deferential to its subject’s operatic self-promotion, Jodorowsky’s Dune makes you wish that he had scraped together the final $5 million needed, we are told, to realize his dream.
  6. The Five Obstructions
    Watching The Five Obstructions is at once like witnessing two chess masters playing dominoes and like spying on a series of therapy sessions. Mr. von Trier clearly sees himself as a maniacal psychoanalyst.
  7. Beasts of No Nation
    The movie itself is an effective nightmare, and a solid piece of filmmaking, strong enough to make you wish that it could have borne the full weight of the tragedy it set out to depict.
  8. Apollo 10½: A Space Age Childhood
    Apollo 10½ is more a modest memoir than a whiz-bang space epic. Its view of the past is doggedly rose-colored, with social and emotional rough edges smoothed away by the passage of time and the filmmaker’s genial temperament.
  9. Wings of Desire
    Startlingly original at first, Wings of Desire is in the end damagingly overloaded. The excesses of language, the ceaseless camera movement, the unyielding whimsy have the ultimate effect of wearing the audience down. (Review of Original Release)
  10. Gandhi
    Neither Mr. Attenborough nor John Briley, who wrote the screenplay, are particularly adventurous filmmakers. Yet in some ways their almost obsessively middle-brow approach—their fondness for the gestures of conventional biographical cinema—seems self-effacing in a fashion suitable to the subject. Since Roberto Rossellini is not around to examine Gandhi in a film that would itself reflect the rigorous self-denial of the man, this very ordinary style is probably best.
  11. Look Into My Eyes
    What I did not expect was to emerge with not only a deeper understanding of this strange calling, but far greater empathy for those who seek out its practitioners.
  12. Iron Monkey
    Saving the big number for the climax, like any good musical director, Mr. Yuen finishes up with a spectacular variation on the traditional kung fu pole fight.
  13. Tu Dors Nicole
    [A] wonderful, lighter-than-air movie.
  14. The Venerable W.
    Schroeder’s approach is calm, almost detached, in keeping with his other work (although the choice of de Medeiros to speak for Buddhism, and with a nonspecific Asian-seeming accent at that, struck me as an avoidable misstep); this makes the bleakness of what he recounts (which is buttressed by an insinuatingly menacing score by Jorge Arriagada) that much more resonant.
  15. Petrov's Flu
    Despite the grimness, the violence and the grotesque bleating of some hateful, prejudiced trolls, the movie never drags you down (though it might exhaust you) because it’s buoyed by Serebrennikov’s bravura, unfettered filmmaking.
    • 79 Metascore
    • 70 Critic Score
    An Angel at My Table
    For all of the casual brutality of the hospital scenes, An Angel at My Table seems a very gentle film about a woman of such a passionate nature.
  17. Quest for Fire
    Quest for Fire is more than just a hugely enterprising science lesson, although it certainly is that. It's also a touching, funny and suspenseful drama about prehumans.
  18. Girls Will Be Girls
    The screenplay suffers from some unevenness, but it never wavers in its empathy. It helps that Talati demonstrates a keen eye for composition.
  19. Monster
    Lovingly detailed and accented by an aching score from Ryuichi Sakamoto, who died in March, Monster is one of the finest films of the year, and its structure — like its circle of characters — carries secrets that can only be unraveled through patience and empathy.
  20. The Ballad of Buster Scruggs
    The Ballad of Buster Scruggs is one of the darkest movies by Joel and Ethan Coen, and also among the silliest. It swerves from goofy to ghastly so deftly and so often that you can’t always tell which is which.
  21. Fourteen
    What begins as a movie with two protagonists almost imperceptibly evolves into a movie with just one — a touching demonstration of how narratives that seem inevitably intertwined can unravel.
  22. Disclosure
    With each successive trip to the grim vaults, the hard-won dignity of the film’s transgender speakers is brought into sharper and sharper relief.
  23. The Visitor
    The curious thing about The Visitor is that even as it goes more or less where you think it will, it still manages to surprise you along the way.
  24. Bang! The Bert Berns Story
    If you love the music Berns made, you’ll love this movie; if you don’t, I feel for you, but “Bang!” might nevertheless entertain with its dish.
  25. Green Room
    Once the violence starts, Green Room settles into horror movie logic, becoming steadily more gruesome and less terrifying as the body count grows. You know some people are going to die, and figuring out who and in what order feels more like a brainteaser than like a matter of deep moral or emotional concern.
  26. The Plague
    This is what The Plague does best: Its storytelling inhabits a world so heated and confusing to its characters — that is, burgeoning adolescence — that it’s sometimes unclear whether things are actually happening or just in Ben’s head.
  27. Don't Think I've Forgotten: Cambodia's Lost Rock and Roll
    Mr. Pirozzi’s film is an unsparing and meticulous reckoning of the effects of tyranny on ordinary Cambodians. It is also a rich and defiant effort at recovery, showing that even the most murderous totalitarianism cannot fully erase the human drive for pleasure and self-expression.
  28. A Most Beautiful Thing
    The film’s fast-paced editing makes it difficult to get to know individual members, but the men register powerfully as a collective, just like a real rowing team.
  29. The First Slam Dunk
    The flashbacks are well-written and add off-the-court dramatic interest, but it’s the basketball action that is the movie’s claim to excellence. Expertly staged and beautifully rendered using a combination of computer-generated imagery and traditional hand-drawn animation, it’s often so spectacular that I am eager to watch again.
  30. Colliding Dreams
    A swift primer that favors breadth over depth, the movie saves some hopeful notes for the end.
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