The New York Times' Scores

For 10,633 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 My Voyage to Italy
Lowest review score: 0 Swearnet: The Movie
Score distribution:
10633 movie reviews
  1. In exchange for three hours of your time, Yi Yi will give you more life.
  2. The final shot, accompanied by an improbable but perfect musical cue, is an astonishing cinematic gesture, an appalling, hilarious statement about modern values, the state of the world, human nature and everything else. This is a movie that lives up to its name.
  3. A triumphant, cleverly disorienting journey through a demimonde that springs entirely from Mr. Tarantino's ripe imagination, a landscape of danger, shock, hilarity, and vibrant local color. Nothing is predictable or familiar within this irresistably bizarre world. You don't merely enter a theater to see Pulp Fiction; you go down a rabbit hole. [23 Sept 1994]
    • The New York Times
  4. Probably the most breathtakingly gorgeous film of the year, dizzy with a nose-against-the-glass romantic spirit that has been missing from the cinema forever.
  5. Children of Men may be something of a bummer, but it’s the kind of glorious bummer that lifts you to the rafters, transporting you with the greatness of its filmmaking.
  6. Line for line, scene for scene, it is one of the best-written American film comedies in recent memory and an implicit rebuke to the raunchy, sloppy spectacles of immaturity that have dominated the genre in recent years.
  7. It is a great movie, by a major figure in world cinema.
  8. What Maisie Knew lays waste to the comforting dogma that children are naturally resilient, and that our casual, unthinking cruelty to them can be answered by guilty and belated displays of affection. It accomplishes this not by means of melodrama, but by a mixture of understatement and thriller-worthy suspense.
  9. Something close to a masterpiece, a work of extreme -- I am tempted to say evil -- genius.
  10. Mr. Boyle has a knack for tackling painful, violent or unpleasant subjects with unremitting verve and unstoppable joie de vivre.
  11. With Where the Wild Things Are Jonze has made a work of art that stands up to its source and, in some instances, surpasses it.
  12. Mr. Nance turns his thought into a performance of vulnerability that’s all too relatable in its indulgences. It has heart without becoming cloying.
  13. Even in the most chaotic fights and collisions, everything makes sense. This is not a matter of realism — come on, now — but of imaginative discipline. And Mr. Miller demonstrates that great action filmmaking is not only a matter of physics but of ethics as well. There is cause and effect; there are choices and consequences.
  14. Dropping us into a perfect storm of avarice, this cool and incisive snapshot of global capitalism at work is as remarkable for its access as for its refusal to judge.
  15. Full of brilliantly executed coups de théâtre, showing the director's natural flair for spectacle.
  16. Not merely an interesting document from a far-off place; it is a masterpiece.
  17. [Allen's] most sustained, satisfying and resonant film since “Match Point.”
  18. Duchess of Langeais seems to me a nearly impeccable work of art -- beautiful, true, profound.
  19. A small movie perfectly scaled to the big performance at its center.
  20. "Print the legend," Mr. Wilson says at one point, both quoting John Ford and laying the foundation for his own often fact-free fabulous fabulism. And this movie is just that -- fabulous.
  21. A parent-tickling delight, is a work of incredible cleverness in the best two-tiered Disney tradition. [22 November 1995, p. C9]
    • The New York Times
  22. With its careful, unassuming naturalism, its visual thrift and its emotional directness, Million Dollar Baby feels at once contemporary and classical, a work of utter mastery that at the same time has nothing in particular to prove.
  23. Turns out to be a smashing success, a juggernaut of an action-adventure saga that owes noithing to the past. To put it simply, thi is a home run. [6 August 1993, p. C1]
    • The New York Times
  24. Mr. Turner is a mighty work of critical imagination, a loving, unsentimental portrait of a rare creative soul. But even as it celebrates a glorious painter and illuminates the sources of his pictures with startling clarity and insight, the movie patiently and thoroughly demolishes more than a century’s worth of mythology about what art is and how artists work.
  25. A beautifully written, seamlessly directed film with award-worthy performances by Ms. Rampling and Ms. Young.
  26. Lacking epic pretensions and modest in scale, running under 90 minutes, Anesthesia is really closer in spirit to Rodrigo García’s delicate 2005 gem, “Nine Lives.” And it doesn’t waste a word or an image.
  27. A tough, gorgeous, vastly entertaining throwback to the Hollywood that did things right. As such, it enthusiastically breaks most rules of studio filmmaking today.
  28. An entire family chronicle, along with four decades of French social and economic history, is recapitulated as a lavish, hectic dinner, complete with music and belly dancing. It will leave you stunned and sated, having savored an intimate and sumptuous epic of elation and defeat, jealousy and tenderness, life and death, grain and fish.
  29. Inside Out is an absolute delight — funny and charming, fast-moving and full of surprises. It is also a defense of sorrow, an argument for the necessity of melancholy dressed in the bright colors of entertainment.
  30. Even as Mr. Mungiu maintains a detached, objective point of view, allowing the details of the story to speak for themselves, he also allows you to glimpse the complex and volatile inner lives of his characters.

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