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. Fort Buchanan
    If, at barely more than an hour, the movie initially seems slight, its inconsequentiality might be better viewed as polemical.
    • 77 Metascore
    • 80 Critic Score
    And Breathe Normally
    It engages the audience with a deeply resonant narrative that highlights the ways our sense of safe keeping can suddenly be ripped from our grasp. And it reminds us of the power we possess, even when we think we’re helpless.
  3. Porgy and Bess
    Almost a quarter of a century after its initial performance on the stage (and seventeen years after the revival that really established it), this most haunting of American musical dramas has been transmitted on the screen in a way that does justice to its values and almost compensates for the long wait.
  4. Josep
    The 74-minute film leaps among time frames without much warning. Occasionally, the screen erupts into crackling black-and-white images drawn directly from Bartolí’s work — as if torn from the very pages of his sketchbooks.
  5. The Promised Land
    It has sweep, romance, violence and spectacle, but what makes it finally work as well as it does is that it largely avoids the ennobling clichés that turn characters into ideals and movies into exercises in spurious nostalgia — well, that and Mads Mikkelsen.
  6. A Single Man
    While A Single Man has its flaws, many of these fade in view of the performance and the power of Isherwood’s story.
  7. My Brilliant Career
    My Brilliant Career doesn't need to trumpet either its or its heroine's originality this loudly. The facts speak for themselves — and so does the radiance with which Miss Armstrong and Miss Davis invest so many memorable moments.
  8. The Color of Money
    ''The Color of Money'' isn't ''Mean Streets'' or ''Raging Bull.'' It is, however, a stunning vehicle - a white Cadillac among the other mainstream American movies of the season.
    • 77 Metascore
    • 70 Critic Score
    The Harder They Come
    The largely amateur cast of black performers and their producer-director may be involved in basically simple action fare in The Harder They Come, but they also leave a slightly disturbing, documentary impression of the darker side of the sunny Jamaica.
  10. Ornette: Made in America (1985)
    Miss Clarke's methods tend to be as fanciful as Ornette Coleman's are rigorous and abstract, but the collaboration between film maker and subject has its own kind of harmony.
  11. Introduction
    Shot in black and white (with Hong serving, for the first time, as cinematographer) and clocking in at a little more than an hour, Introduction is both lucid and elusive.
  12. The Messenger
    No movie can convey the truth of war to those of us who have not lived through it, but The Messenger, precisely by acknowledging just how hard it is to live with that truth, manages to bring it at least partway home.
  13. Under the Sea 3D
    A visually enthralling 40-minute tour of the southwestern Pacific depths.
  14. Private Fears in Public Places
    The film is accessible, pleasant, dreamy, a touch goofy and melancholic. Its modernist gestures are little more than stylistic tics, but there's an image of snow falling on two clasped hands that is almost rapturous. The role of the artist remains, for Mr. Resnais, the role of a lifetime.
  15. Play It Again, Sam
    Even when he's not in an anarchic mood, Woody Allen is still the funniest neurotic in American movies today and Play It Again, Sam, directed by Herbert Ross from Allen's screenplay, will probably remain the funniest new movie around this summer until another Allen work shows up.
  16. The Devil and Daniel Johnston
    Jeff Feuerzeig, who won the best-director award at the 2005 Sundance festival, cobbles together a moving portrait of the artist as his own ghost, using a wealth of material provided by Mr. Johnston, from home movies to audiocassette diaries to dozens of original, and often heartbreakingly beautiful, songs.
  17. Sin Nombre
    What keeps the movie from tipping into full-blown exploitation like "City of God," which turns third-world misery into art-house thrills, is Mr. Fukunaga's sincerity. What keeps you watching is his superb eye.
  18. Children of Heaven
    In Children of Heaven, life is sweet despite countless hardships, and no reality beyond the economic intrudes upon a fairy tale atmosphere. Only through heavy-handed emphasis does the quest for new sneakers take on any greater meaning.
  19. Revenge of the Mekons
    The film is both a generous primer on the band, which grew out of the punk movement in Leeds, England, in 1977, and a celebration of its longevity.
  20. Marona's Fantastic Tale
    Marona has three real homes in her life, and past abandonments have taught her that heartbreak waits in every happiness. But fortunately, the film stays buoyant through its unique, boisterous animation.
  21. Incitement
    Potently, Incitement depicts Amir as just one member of a self-reinforcing fringe.
  22. The Nightingale
    This is a difficult movie because the questions it raises are not easy. There are sentimental and reassuring movies about vengeance, and comforting stories about the resistance to historical oppression. This isn’t one of those. You might say it’s too angry. Or too honest.
  23. Mountain Patrol
    Films about environmental catastrophes tend to wax preachy, putting pedagogy and scolding above art. This one, for all its sorrow and the throb of righteous anger it provokes (only about 50,000 antelopes remain), is more than anything a work of creative imagination.
  24. Child's Pose
    It’s too bad that the filmmakers don’t allow an occasional breath of air into the sepulchral proceedings or ease up on the increasingly heavy-handed lessons.
  25. Grandma
    There is much to praise about this sweet, smart comedy of intergenerational conflict and solidarity.... But honestly, the wonder that is Grandma can be summed up in two words: Lily Tomlin.
  26. 'Til Kingdom Come
    Zinshtein’s patient, observant approach catches her subjects in moments of damning irony.
    • 77 Metascore
    • 70 Critic Score
    The Man Who Knew Too Much
    Although the photography and lighting are inferior according to Hollywood standards, the film is an interesting example of technical ingenuity as well as an absorbing melodrama.
  28. Presence
    Presence is another ideal trap to trip for a filmmaker who enjoys challenges and changing it up artistically as much as Soderbergh does.
  29. The Road Warrior
    In its stripped-down, cannily cinematic way, it's one of the most imaginative Australian films yet released in this country. It has no pretensions to do anything except entertain in the primitive, occasionally jolting fashion of the first nickelodeon movies, whose audiences flinched as streetcars lumbered silently toward the camera.
  30. I, Tonya
    As I, Tonya skips here and there and thickens the plot, it becomes increasingly baffling why the filmmakers decided to put a comic spin on this pathetic, dispiriting story. No matter how hard the movie tries to coax out laughs, there’s little about Ms. Harding, her circumstances or her choices that skews as funny.
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