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. God Loves Uganda
    A searing look at the role of American evangelical missionaries in the persecution of gay Africans, Roger Ross Williams’s God Loves Uganda approaches this intersection of faith and politics with some fairness and a good deal of outrage.
  2. Evolution
    It’s an impeccable, creepy and genuinely transporting movie.
  3. Fat Girl
    Much more than a perfectly realized vignette about seduction. It is the latest and most powerful dispatch yet from Ms. Breillat, France's most impassioned correspondent covering the war between the sexes.
  4. Ulee's Gold
    Beautiful and heartfelt, an oasis of humanity in a season of furious hyperbole.
  5. Humanité
    You probably won't feel comfortable when Humanité is over, but as you leave the theater you will feel more alive than when you entered.
  6. Grindhouse
    The obsessive crosshatching of allusion, spoof and homage that gives Grindhouse its texture is the product of a highly refined generational sensibility.
  7. How to Change the World
    This absorbing account is hardly definitive, but it teaches movement building without denying the high costs paid by true believers.
  8. The Price of Freedom
    Muckraking documentaries often conclude with declined-to-comment disclaimers, but David Keene, a former N.R.A. president, is here. Toward the end, he chillingly cautions anyone who thinks the N.R.A. might disappear.
  9. Caesar Must Die
    There’s an elemental, almost primitive quality to the Tavianis’ condensing that, at its most effective, dovetails with the prison’s severely circumscribed material reality, as if the high walls, barred windows and suffocating rooms were manifestations of the characters’ states of mind.
  10. Body Heat
    While Body Heat involves murder, fraud, a weak hero led astray and a seductive, double-dealing broad, it also incorporates something new: a sexual explicitness that the old films could only hint at.
  11. The Pool
    In the manner of a Satyajit Ray film, The Pool avoids melodrama, the better to capture the texture of Venkatesh's vagabond life.
  12. Benda Bilili!
    Benda Bilili! is brutally real, a document of willpower that shows not only the magic of transcendence - which may be fleeting - but also the transformation of aspiring to it, every struggling step of the way.
  13. Gerhard Richter - Painting
    Gerhard Richter may not fling paint at the canvas, Jackson Pollock-style, but as Corinna Belz shows in her documentary Gerhard Richter Painting, he can be his own kind of action painter.
  14. Pom Poko
    Its ecological concerns, nuance and occasional lyricism place it squarely within the Ghibli oeuvre but not among its masterpieces.
  15. The Twentieth Century
    Is it all a bit much? Sure, but the self-consciousness is baked in: Rankin names one public gathering place “Disappointment Square.”
  16. French Postcards
    Parts of French Postcards have considerable charm, even if it is charm with the consistency of bunny-fluff.
  17. Father's Little Dividend
    It is not very often that the sequel to a successful film turns out to be even half as successful or rewarding as the original picture was. But we've got to hand it to Metro: its sequel to "Father of the Bride" is so close that we'll willingly concede it to the humor and charm of that former film.
  18. The War Tapes
    Whatever your opinion of the war - and however it has changed over the years - this movie is sure to challenge your thinking and disturb your composure. It provides no reassurance, no euphemism, no closure. Given the subject and the circumstances, how could it?
  19. Maestro
    Maestro is as ambitious as Cooper’s fine directorial debut, “A Star Is Born,” but the new movie is more self-consciously cinematic.
  20. Jerry Maguire
    Jerry Maguire is loaded with them: bright, funny, tender encounters between characters who seem so winningly warm and real.
  21. Songs from the Second Floor
    A heartbreakingly thoughtful minor classic, the work of a genuine and singular artist.
  22. Baden Baden
    It’s very fresh and often very funny stuff, communicated in a direct, unforced style.
  23. Project Hail Mary
    Lord and Miller, almost by default, accentuate the positive to the detriment of the very movie that they’ve painstakingly created. Like a lot of Earthlings, they seem more at home in a far-out fantasy than on our ordinary, terrifying planet, which is why this particular message of hope ends up being a bummer.
  24. Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
    The result isn’t another ho-hum documentary likeness in which all the elements neatly and often flatteringly stack up. “Jim & Andy” is instead a complexly layered and textured Cubist portrait, one that’s been constructed from fragments of its two title subjects and their work.
  25. Relic
    Relic deftly merges the familiar bumps and groans of the haunted-house movie with a potent allegory for the devastation of dementia.
  26. 3 1/2 Minutes, 10 Bullets
    At the time of a fervent national debate on race and justice, part of what is impressive about 3 ½ Minutes is the cool temperature at which it is often served.
  27. Advocate
    Provocative as the film is, it doesn’t fully reconcile Tsemel’s contradictions, if such a thing were even possible or desirable.
  28. A Band Called Death
    A Band Called Death is more concerned with bringing out the personal connections behind their driven music than with insisting upon the group’s distinction in the perennial music history search for oddities and firsts.
  29. Good News
    Even though an oldtimer may view this Good News with mocking eyes—may mutter that, back in 1927, which is the advertised date of its events, the goal-posts were set on the goal-line and the huddle was an undeveloped freak—the pleasures of reminiscence which the picture affords are worthwhile. As for the untraditioned youngsters—especially the Lawford-Allyson fans—the stars and the dancing activity should adequately satisfy.
  30. Small Axe: Alex Wheatle
    A film in which violence and stillness alternate with queasy regularity.
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