The New York Times' Scores

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For 20,269 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: 9,377 out of 20269
  2. Mixed: 8,428 out of 20269
  3. Negative: 2,464 out of 20269
20269 movie reviews
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  1. The Souvenir
    The Souvenir feels like a whispered confidence, an intimate disclosure that shouldn’t be betrayed because it isn’t really yours.
  2. This Is Spinal Tap
    ''It's such a fine line between stupid and . . . '' ''And clever,'' muse the band members collectively. It certainly is- and the delightful This Is Spinal Tap stays on the right side of that line.
  3. A Man Vanishes (1967)
    Seemingly banal in its conceit, wildly startling in its execution, it tracks a film crew that, like a detective squad, investigates what became of an ordinary man.
  4. Alphaville
    What it comes to is simply that the dazzle of Mr. Godard's cinematic style is not matched by the hackneyed idea of a robot society that is expounded in the script.
  5. The Look of Silence
    A painful, profoundly empathetic work of moral reckoning.
  6. Tower
    Using a limited frame, Mr. Maitland does his own commemorating, inherently raising questions about terror, the nature of heroism and what it means to really survive. He also does something even more necessary: He turns names on a plaque into people.
  7. The Secret Agent
    For his latest knockout, The Secret Agent, the Brazilian filmmaker Kleber Mendonça Filho embraces a freewheeling sensibility, and finds laughter amid the terror.
  8. Burning
    While each event expands the narrative — filling in the larger picture with nods at sexual relations, class divisions and a riven people — they don’t necessarily explain what happens or answer the fundamental question that burns through this brilliant movie.
  9. Drive My Car
    Hamaguchi’s touch — delicate, precise, restrained, gentle — overwhelms in increments. His reserve is essential to his visual and narrative approach but also feels like a worldview.
  10. Moolaadé
    To skip Moolaade would be to miss an opportunity to experience the embracing, affirming, world-changing potential of humanist cinema at its finest.
  11. It Was Just an Accident
    It’s a cry from the heart, a comic howl in the dark and one of the year’s essential movies.
  12. A Summer's Tale
    A Summer’s Tale has room to focus on Rohmer’s brilliance at revealing human nature through articulate, multidimensional characters, perfectly cast, who in some ways seem to exist outside of time.
  13. Saint Omer
    An intellectually charged, emotionally wrenching story about the inability of storytelling — literary, legal or cinematic — to do justice to the violence and strangeness of human experience.
  14. Atanarjuat: The Fast Runner
    Not merely an interesting document from a far-off place; it is a masterpiece.
  15. L.A. Confidential
    A tough, gorgeous, vastly entertaining throwback to the Hollywood that did things right. As such, it enthusiastically breaks most rules of studio filmmaking today.
  16. Three Colors: White
    Throughout, White is filled with exquisite scenes that don't press too hard...and those moments are all the richer for their understatement.
  17. Time
    Substantive and stunning, the documentary Time delivers on the title’s promise of the monumental as well as the personal.
  18. Gavagai
    This is a high-minded and carefully composed film about, among other things, the inability of words in any language to satisfactorily communicate states of being. There are pleasures and intellectual provocations to be had here. But its attempted effects fall flat a little too often.
  19. A Bread Factory Part Two: Walk With Me a While
    The focus on the workings of an American institution may remind some of the expansive comedies of Robert Altman or the documentaries of Frederick Wiseman. But also, the blurring of the line between performance and reality, the embrace of an intimate theatricality, recalls the work of Jacques Rivette. These are cinematic giants, and this director may be on his way to joining them.
    • 91 Metascore
    • 70 Critic Score
    The Killing
    Though The Killing is composed of familiar ingredients and it calls for fuller explanations, it evolves as a fairly diverting melodrama.
  21. Swing Time
    The plot is never permitted to weigh upon the shoulders of the cast; of comedy there is a generous portion; of romance the lightest sprinkling; of dancing, in solo, duet and ensemble, a brisk and debonair allotment.
  22. Lost in Translation
    Here he (Murray) supplies the kind of performance that seems so fully realized and effortless that it can easily be mistaken for not acting at all.
  23. Breaking Away
    The cast is unknown, the director has a spotty history, and the basic premise falls into this year's most hackneyed category (unknown boxer/ bowler/jogger hopes to become sports hero). Even so, the finished product is wonderful. Here is a movie so fresh and funny it didn't even need a big budget or a pedigree.
  24. Ryuichi Sakamoto | Opus
    For the fan, it’s an intensely moving experience. But even for the viewer without much knowledge of Sakamoto’s work, “Opus” holds its own as the rare cinematic space for contemplation.
  25. After Life
    After Life becomes a quiet, extraordinarily moving and sometimes funny meditation on the meaning and value of life. It intimates that whatever happiness we may find in life comes from within and is self-created.
  26. Son of Saul
    Mr. Nemes orchestrates a tour de force of suspense, a swift symphony of collisions, coincidences and reversals that is almost unbearably exciting. His skill is undeniable, but also troubling. The movie offers less insight than sensation, an emotional experience that sits too comfortably within the norms of entertainment. This is not entirely the director’s fault. The Holocaust, once forbidden territory, is now safe and familiar ground.
  27. Love Affair
    Mr. McCarey has balanced his ingredients skillfully and has merged them, as is clear in retrospect, into a glowing and memorable picture.
    • 91 Metascore
    • 70 Critic Score
    Frankenstein
    It is naturally a morbid, gruesome affair, but it is something to keep the spectator awake, for during its most spine-chilling periods it exacts attention.
  29. Her
    At once a brilliant conceptual gag and a deeply sincere romance, Her is the unlikely yet completely plausible love story about a man, who sometimes resembles a machine, and an operating system, who very much suggests a living woman.
  30. Little Women
    Like any good novelist and every great filmmaker, Gerwig isn’t afraid to let her audience work a little. She trusts our intelligence and our curiosity, and also her own command of the medium.
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