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. The End
    The End is about one version of the end of the world, and about how the people who could have prevented it might feel when they get there. But to watch it is to think about yourself, at least if you have a conscience, and to ponder the sort of cognitive dissonance you live with every day.
  2. Chile '76
    Chile ’76 is a sly genre exercise, an example of how political repression can squeeze a domestic melodrama until it takes the shape of a spy thriller.
  3. The Cow Who Sang a Song Into the Future
    The power of Alegría’s feature debut is found not in dialogue or explication, but in the lyrical, magical realist qualities of folklore: disappointed mothers and fathers, sacred animals and cursed rivers, love and forgiveness.
  4. Napoleon
    Napoleon is consistently surprising partly because it doesn’t conform to the conventions of mainstream historical epics, which is especially true of its startling, adamantly unromanticized title character.
  5. Sam Now
    Reed’s initial overeager stylings fall back to reveal a mature reckoning with love, hurt, independence, and hard-won wisdom.
  6. Art for Everybody
    Art for Everybody — which is well structured, meticulously researched and revealing, even for a Kinkade-jaded viewer like me — manages to complicate the narrative, thanks in part to sensitive interviews with family and friends, including his wife, Nanette, and their four daughters.
  7. Geographies of Solitude
    It is to the great credit of “Geographies of Solitude” that it never feels expository: It turns an ecology lesson, and an account of a noble, steadfast, single-minded pursuit, into art.
  8. Here
    In this painstakingly muted, luminously photographed testimony to connection, nothing much and everything happens — or could.
    • 73 Metascore
    • 90 Critic Score
    Cavalcade
    It is unfurled with such marked good taste and restraint that many an eye will be misty after witnessing this production.
  10. Going My Way
    In addition to Mr. Crosby and Mr. Fitzgerald, Frank McHugh, Miss Stevens, Jean Heather and Stanley Clements—especially the latter as a genial tough — give thoroughly good performances. They enrich this already top-notch film with a vigorous glow of good spirit. Going My Way is a tonic delight.
  11. About Dry Grasses
    In About Dry Grasses, Ceylan is asking a vital question of himself as well as the audience: What does it mean to be engaged in the world? And if you choose to back away and watch, rather than become involved, is it self-protection, superiority or just cowardice?
  12. In Our Day
    As warm and wise as it is simple and languid.
  13. May December
    Moore and Portman are tremendous, but it’s Melton’s anguished performance that gives the movie its slow-building emotional power.
  14. The Goldman Case
    Goldman is at the center, and Worthalter gives a hypnotizing performance.
  15. Robot Dreams
    To describe the plot — a dog and a robot are best friends, until they aren’t — the film sounds pitifully small. But the world inside it feels huge, a sprawling landscape of joy and heartbreak and mixed emotions and stinging dead ends.
  16. Anselm
    A film like Anselm is another level of preservation as well as a contemplative experience, in which the past and the future meet, in a way we can feel as much as see.
  17. Fallen Leaves
    Fallen Leaves is consistently funny, but its laughs arrive without fanfare. They slide in calmly, at times obliquely in eccentric details, offbeat juxtapositions, taciturn exchanges, long pauses and amiably barbed insults.
  18. Inside the Yellow Cocoon Shell
    Pham manages to float existential and spiritual questions into Thien’s consciousness and ours without trying to offer solutions, at least in language.
  19. La Chimera
    Rohrwacher’s digressive storytelling can make La Chimera seem unstructured, but she’s going where she wants to go and at her own pace. She likes detours, lived-in (nonplastic) faces and the kind of revelatory details that might go unnoticed, if she didn’t direct your gaze at them.
  20. Perfect Days
    Pay attention to the shadows in Perfect Days. Pay attention also to the trees, to the ways Hirayama (Koji Yakusho) looks at them. They’re as much a character in the story as he is.
  21. The Settlers
    Gálvez’s work here is by turns blunt and subtle, and very assured.
  22. Last Summer
    Last Summer is complex, tricky, at times very uncomfortable and thoroughly engrossing.
  23. The Old Oak
    In place of magical thinking and a happy ending, The Old Oak serves up something harder: a meditation on hope.
  24. Terrestrial Verses
    Each small humiliation, taken alone, will raise your blood pressure a little. But put them all together, and more seismic reverberations may finally rattle a society to its core.
  25. Amanda
    Amanda is absurd and abrasive, but also sympathetic thanks to Porcaroli’s performance. She’s a flaming narcissist with a gooey core of vulnerability, a being forged by the fear of making herself known.
  26. Klondike
    The director favors absurdist tableaus . . . placid camera moves counterpointed by brutality and shots held so long that it almost seems as if the filmmaker is the one being cruel. It’s a grimly effective strategy for a harsh but powerful movie.
  27. Priscilla
    Die-hard Elvis fans will no doubt call some of the characterization in Priscilla slander, but part of the achievement here is that Elvis is not simply a monster. Fame has merely given him the superpower of not having to pay attention to anyone else.
  28. The Stroll
    If The Stroll is an indictment and elegy, it is also a remarkable document of the self-determination of the women and workers who learned, in the face of the worst odds, to fend for themselves and each other.
  29. Ferrari
    Mann shoots this lunatic race from every conceivable angle — with cameras in and out of cars, bearing down on drivers’ faces, agitatedly hovering midair — creating an immersive, visceral intimacy that, as engines whine and thunderously roar, you feel in your bones.
  30. Red Rooms
    The film’s tension rides on the unknown, a paranoid vibe accented by Kelly-Anne’s shady online presence and Gariépy’s stark, sphinx-like performance.
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