The New York Times' Scores

For 12,309 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Thunder Soul
Lowest review score: 0 A Little Bit of Heaven
Score distribution:
12309 movie reviews
  1. Like “The Shining” and its maze within a maze, Mr. Ascher’s movie is something of a labyrinth. Puzzling your way through its compilation of vaguely lucid and crackpot ideas is pleasurable though, for avid movie lovers, it may also feel like a warning.
  2. Neither the neighborhood intimacy of "Mean Streets" nor the grandeur of the "Godfather" movies is imaginable without Visconti's example. Its richness, though, is inexhaustible, and well served by the spotless new 35-millimeter print being shown at Film Forum.
  3. The genius of 12 Years a Slave is its insistence on banal evil, and on terror, that seeped into souls, bound bodies and reaped an enduring, terrible price.
  4. Surely the best movie yet made from Mr. Irving's fiction. It may even belong in the rarefied company of movies that are better than the books on which they are based.
  5. By introducing funky licks, fancy footwork and many of his own compositions to the band's stodgy set list of jazz standards, this indomitable leader (whose declining health adds a poignant twang to the film's final scenes) instilled racial pride alongside musical competency.
  6. No Country for Old Men is purgatory for the squeamish and the easily spooked. For formalists -- those moviegoers sent into raptures by tight editing, nimble camera work and faultless sound design -- it’s pure heaven.
  7. Cruelty and humor are nestled like spoons in a drawer. Mr. Lanthimos’s method is to elicit an appreciative chuckle followed by a gasp of shock, and to deliver violence and whimsy in the same even tone. “The Lobster” is often startlingly funny in the way it proposes its surreal conceits, and then upsettingly grim in the way it follows through on them.
  8. To skip Moolaade would be to miss an opportunity to experience the embracing, affirming, world-changing potential of humanist cinema at its finest.
  9. It’s ultimately a movie — one of the most rigorous and thoughtful I’ve seen — about the ethical and existential traps our fame-crazed culture sets for the talented and the mediocre alike.
  10. Go see this movie. Take your children, even though they may occasionally be confused or fidgety. Boredom and confusion are also part of democracy, after all. Lincoln is a rough and noble democratic masterpiece - an omen, perhaps, that movies for the people shall not perish from the earth.
  11. Possibly the best work of any kind about the Vietnam War since Michael Herr's vigorous and hallucinatory book "Dispatches."
  12. In exchange for three hours of your time, Yi Yi will give you more life.
  13. 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.
  14. 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
  15. 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.
  16. 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.
  17. 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.
  18. The film makes uncompromising demands on your attention and your empathy. But it is also illuminating and, in its downbeat, deliberate way, exhilarating.
  19. It is a great movie, by a major figure in world cinema.
  20. 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.
  21. A thorny masterpiece.
  22. Something close to a masterpiece, a work of extreme -- I am tempted to say evil -- genius.
  23. Mr. Boyle has a knack for tackling painful, violent or unpleasant subjects with unremitting verve and unstoppable joie de vivre.
  24. 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.
  25. Mr. Nance turns his thought into a performance of vulnerability that’s all too relatable in its indulgences. It has heart without becoming cloying.
  26. 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.
  27. 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.
  28. Full of brilliantly executed coups de théâtre, showing the director's natural flair for spectacle.
  29. Not merely an interesting document from a far-off place; it is a masterpiece.
  30. [Allen's] most sustained, satisfying and resonant film since “Match Point.”

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