The New York Times' Scores

For 11,633 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Field Niggas
Lowest review score: 0 Surveillance
Score distribution:
11633 movie reviews
  1. Merchant, Ivory and Jhabvala triumph again with their entertaining, richly textured film. [13 March 1992]
    • The New York Times
  2. Nikolaus Geyrhalter's superb documentary is an unblinking, often disturbing look at industrial food production from field to factory.
  3. Mr. Greengrass knows how to do his job, and there’s no one in Hollywood right now who does action better, who keeps the pace going so relentlessly, without mercy or letup, scene after hard-rocking scene.
  4. Ms. Bigelow's direction here is unexpectedly stunning, at once bold and intimate: she has a genius for infusing even large-scale action set pieces with the human element.
  5. Mr. Zürcher has concocted something intimate yet otherworldly with this highly original debut.
  6. With her dramatically pale face framed by a voluptuous dark cloud of hair, Ms. Elkabetz is never more effective than when she’s holding still, her face so drained of emotion that it transforms into a screen within the screen on which another, indelibly private movie is playing.
  7. It's movie making of the high, smooth, commercial order that Hollywood prides itself on but achieves with singular infrequency.
  8. It’s an impeccable, creepy and genuinely transporting movie.
  9. About Elly is gorgeous to look at. The ever-changing sky and sea lend it a moodiness so palpable that the climate itself seems a major character dictating the course of events; the weather rules.
  10. Ms. Bell, who plays Carol with a perfect blend of diffidence, goofiness and charm, has written and directed an insightful comedy that is much more complex and ambitious than it sometimes seems.
  11. By the time the movie is over, you feel as if the people in it were friends you know well enough to tire of, and to miss terribly when they go away.
  12. In most movies, something happens; in Archipelago, many things happen, quietly yet meaningfully.
  13. This film, which was never released in America and will now be making its way across the country in limited release, has been immaculately restored and features new subtitles. You can get lost in the blackness of its heart and its shadows. You might never come back.
  14. It rediscovers the aching, desiring humanity in a genre -- and a period-- too often subjected to easy parody or ironic appropriation. In a word, it's divine.
  15. Succeeds in finding something larger than one man's misery. It turns dark truthfulness into the cinematic sentiment most worth celebrating this season.
  16. Inside Job, a sleek, briskly paced film whose title suggests a heist movie, is the story of a crime without punishment, of an outrage that has so far largely escaped legal sanction and societal stigma.
  17. Everything depends on the subtlety of the direction and the charisma of the performances. Augustine is intellectually satisfying partly because it communicates its ideas at the level of feeling, through the uncanny power of Soko’s face and body.
  18. If there's one movie that ought to be studied by military and civilian leaders around the world at this treacherous historical moment, it is The Fog of War, Errol Morris's sober, beautifully edited documentary portrait of the former United States defense secretary Robert S. McNamara.
  19. So effective does it close the distance between you and Mr. Bernstein that afterward you may find yourself scanning the streets, hoping to catch sight of him, as if for an old friend.
  20. Ms. Denis has an extraordinary gift for finding the perfect image that expresses her ideas, the cinematic equivalent of what Flaubert called le mot juste.
    • The New York Times
  21. A sublimely nimble evisceration of that cult of celebrity known as the British royal family.
  22. The result is an American masterpiece, independent to the bone.
  23. What makes it so instructively entertaining is the pivotal character of Claus von Bulow, played by Jeremy Irons within an inch of his professional life. It's a fine, devastating performance, affected, mannerly, edgy, though seemingly ever in complete control. [17 Oct 1990]
    • The New York Times
  24. The filmmakers record the flash of youth’s headlong energies, its bumps and bruises, and its melancholies and brilliant chaos.
  25. In what has been called the Year of the Documentary, "My Flesh and Blood" stands beside "Capturing the Friedmans" and "The Fog of War" as an unforgettable experience.
  26. With its swift, jaunty rhythms and sharp, off-kilter jokes, Frances Ha is frequently delightful. Ms. Gerwig and Mr. Baumbach are nonetheless defiant partisans in the revolt against the tyranny of likability in popular culture.
  27. A masterpiece about life, death and everything in between.
  28. One may legitimately debate the validity of Malick's vision, but not, I think, his immense talent. Badlands is a most important and exciting film.
  29. The best movie of its kind since the French director Guillaume Canet's hit from 2006, "Tell No One."
  30. Chan Is Missing is not only an appreciation of a way of life that few of us know anything about; it's a revelation of a marvelous, completely secure new talent.

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