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. Pusher III: I'm the Angel of Death
    The atmosphere is so thick, the talk so assured, the performances so disciplined and the fear so fearsome, that Mr. Refn’s final iteration of his pattern achieves the hard, bright light of an archetype from hell.
    • 84 Metascore
    • 80 Critic Score
    Lassie
    Lassie balances cruelty and tenderness, pathos and humor without ever losing sight of its youngest audience member.
  3. This Film Is Not Yet Rated
    Feisty, intellectually engaging.
  4. SherryBaby
    What distinguishes the film from its many peers is the quality of Ms. Collyer’s writing -- which rarely reaches for obvious, melodramatic beats -- and the precision of Ms. Gyllenhaal’s performance. She treats the character neither as a case study nor as an opportunity to show off her range, but rather as a completely ordinary and therefore arrestingly complicated person.
  5. Le petit lieutenant
    Le Petit Lieutenant embraces the spectrum of human drama and comedy, and like a lot of French films it is keenly involved with the everyday pulse of work.
  6. Man Push Cart
    Filmed in less than three weeks, Man Push Cart is an exemplary work of independent filmmaking carried out on a shoestring. Mr. Razvi’s convincing performance is a muted portrait of desolation bordering on despair.
  7. A Guide to Recognizing Your Saints
    hough the picture is wrenching, at times devastating, it leaves you with that buoyant feeling of having encountered a raw, authentic work of art.
  8. 49 Up
    Suzy's marriage, Nick's divorce, Paul's work history: none of it is my or anyone else's business. But these things -- these people -- have become, through Mr. Apted's films, a vital part of modern life, which seems to grow richer every seven years, when the new "Up" movie comes out.
  9. The Ritchie Boys
    Those whose tolerance of Greatest Generation war stories isn't exhausted, not to mention those who still thrive on them, will find the group of men who called themselves the Ritchie Boys good company.
  10. Marie Antoinette
    A thoroughly modern confection, blending insouciance and sophistication, heartfelt longing and self-conscious posing with the guileless self-assurance of a great pop song. What to do for pleasure? Go see this movie, for starters.
  11. The Prestige
    Stuffed with hard-working actors, sleek effects and stagy period details, The Prestige, directed by Christopher Nolan from a script he wrote with his brother Jonathan, is an intricate and elaborate machine designed for the simple purpose of diversion.
  12. Jonestown: The Life and Death of Peoples Temple
    As this powerful, minutely documented film reveals, the tragedy wasn’t caused by the failure of the Peoples Temple to realize its goals. In many ways, it was succeeding as a self-sufficient community.
  13. Requiem
    Requiem is a moving study of a tortured young woman more at peace with medieval ritual than with modern medicine.
  14. Climates
    This film paints a haunting portrait of existential solitude, one in which the images speak louder and often more forcefully than do any of the words.
  15. The Wild Blue Yonder
    There is pleasure in such useless beauty, of course, and pleasure too in drifting with the jellyfish amid the wild blue yonder of a great filmmaker’s imagination.
  16. Commune
    A breezy, informal history of the Black Bear Ranch, a long-running California commune begun in the summer of 1968 and still in existence, offers the fascinating spectacle of observing people then and now.
  17. Iraq in Fragments
    From 300 hours of material, Mr. Longley has created a collage of images, sounds and characters, an intimate, partial portrait of an unraveling nation -- a portrait that gains power partly by virtue of its incompleteness.
  18. Copying Beethoven
    Topped with that messy salt-and-pepper wig that frames and obscures his scowling, searching face, [Harris] invests Beethoven with a violent turbulence that sometimes floods the room but mostly stays coiled inside, where it seethes.
  19. Fast Food Nation
    It's a mirror and a portrait, and a movie as necessary and nourishing as your next meal.
  20. The PianoTuner of EarthQuakes
    Flaunting elements of "Phantom of the Opera" and "The Island of Lost Souls," the movie, with its haunting, claustrophobic environment, allows the living and the merely lifelike to interact with an eerie beauty.
  21. The Aura
    Mr. Bielinsky, in what would sadly be his last film, demonstrates a mastery of the form that is downright scary.
  22. The History Boys
    The current of intellectual energy snapping through the ferociously engaging screen adaptation of Alan Bennett’s Tony Award-winning play feels like electrical brain stimulation.
  23. The Bergman Trilogy
    Intimate, compelling film.
  24. Days of Glory
    It is a chronicle of courage and sacrifice, of danger and solidarity, of heroism and futility, told with power, grace and feeling and brought alive by first-rate acting. A damn good war movie.
  25. Charlotte's Web
    May not be perfect, but it honors its source and captures the key elements -- the humor and good sense, as well as the sheer narrative exuberance -- that have made White’s book a classic.
  26. Venus
    Since the movie is about desire -- not so much for sex as for the vitality and surprise that sex can provide -- it is also about power. Few writers can match Mr. Kureishi's knowing wit on this subject, or his skill at dissecting the shifting dynamics of longing and domination.
  27. Curse of the Golden Flower
    Since his debut in 1987 with "Red Sorghum" Mr. Zhang has made more controlled films but never one that's more fun. With Curse of the Golden Flower he aims for Shakespeare and winds up with Jacqueline Susann. And a good thing too.
  28. Make It Funky!
    The accidental poignancy of Make It Funky! comes from juxtaposing the charisma and dignity of those musicians - and the knowledge of how much great music New Orleans has given the world - with the unavoidable images of devastation from the last two weeks.
    • 73 Metascore
    • 80 Critic Score
    The GoodTimesKid
    Mr. Jacobs's approach is descended from a long line of minimalist filmmakers, from Jacques Tati ("Monsieur Hulot's Holiday") up through Jim Jarmusch ("Mystery Train"), but The GoodTimesKid dances, like Diaz, in its own sweet style. It doesn't get to the point because getting there is the point.
  30. The Italian
    There is something slightly magical about the lighting, almost as if this were a fantasy land from which Vanya might actually make an escape. This sense of unreality, of magical thinking and wishing, carries the story and Vanya through a remarkable journey.
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