The New York Times' Scores

For 10,199 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 21 Grams
Lowest review score: 0 Baby Geniuses
Score distribution:
10,199 movie reviews
  1. The film is careful to avoid explicit political statement, but its reticence makes its critique of the Iranian regime all the more devastating.
  2. The film's realism is a point of entry rather than the whole point of the exercise. Its setting is finally subordinate to the main character, as memorable and vivid a heroine as you are likely to see on screen this season.
  3. This dream of a movie is set in such a place; with its delicate shifts of tone, it could be a fairy tale by Faulkner
  4. Waves of melancholy wash over the story and keep the treacle at bay, as do the spasms of broad comedy, much of it nimbly executed by Mr. Baron Cohen.
  5. This movie is crowded and sprawling, and if it rambles sometimes, that's just fine. Like those big, boxy Caddies (and like Howlin’ Wolf, if he did say so himself), it's built for comfort, not for speed. It hums, it purrs and it roars.
  6. Galiana's quietly monumental performance is one for the ages.
  7. Nuances of faith, politics and sexual identity enrich what initially presents as a classic good son-bad son tale.
  8. This document of youthful confusion has not aged one minute. If anything, its detached, discursive and sympathetic observation of the earnest foolishness of post-baccalaureate, pre-1968 Parisians is more acute, and more prophetic, than ever.
  9. Mr. Bogosian's venomously funny play, which he adapted himself for the screen, is given warmth and generosity by Mr. Linklater, whose elegantly fluid direction and great skill with actors are accentuated by the play's spareness.
  10. Smoothly directed and acted with glee... showing quick-witted comic spirit.
  11. It's the sort of unassuming discovery that could get lost in a crowd or suffer from too much big love, and while it won't save or change your life, it may make your heart swell. Its aim is modest and true.
  12. This is no splatter movie: spare, suspenseful and brilliantly invested in silence, Bryan Bertino's debut feature unfolds in a slow crescendo of intimidation.
  13. The story is at once hilarious and horrific, its significance both self-evident and opaque. The same could be said of most of the Coen brothers’ movies, in which human existence and the attempt to find meaning in it are equally futile, if also sometimes a lot of fun. (For us, at least.)
  14. That Borgman restrains itself from turning into a full-scale horror movie makes it all the more unsettling, although it has its bumpy moments.
  15. Commendably, the film, narrated by John Leguizamo, sugarcoats nothing, and the people involved - the players, their trainers, their parents, the scouts - are remarkably forthright.
  16. The result is a movie that is challenging, accessible and hard to stop thinking about...But in too many recent movies intelligence is woefully undervalued, and it is this quality -- even more than its considerable beauty -- that distinguishes Little Children from its peers.
  17. Mr. Stevens’s watchful restraint gives the early scenes a slow burn and a sinister glaze.
  18. Cool-headed, lighthearted and outrageously entertaining.
  19. The Simpsons Movie, in the end, is as good as an average episode of "The Simpsons." In other words, I’d be willing to watch it only -- excuse me while I crunch some numbers here -- 20 or 30 more times.
  20. Since her character wears no historical costumes and suffers from no debilitating ailment, it is likely that Ms. Curtis will be overlooked when Oscar season rolls around. This is a shame, since it is unlikely that any other actress this year will match the loose, energetic wit she brings to this delightful movie.
  21. Urgent, informative and artfully assembled documentary.
  22. Much like the Dardennes, Mr. Joachim holds to the truth that the personal is political, which is why this isn’t simply a movie about a woman and an unspeakable crime, but also an exploration of the power and cruelty that brought her to that very dark place.
  23. The picture is more fun than it has a right to be.
  24. Pitched at the divide between art and industry, poetry and entertainment, it goes darker and deeper than any Hollywood movie of its comic-book kind.
  25. Mr. Wiseman's particular genius has always been to convey, through judicious editing and dogged filming, the tedium, busyness and quiet intensity of group labor.
  26. Like the best westerns, Red Hill is a stripped-down morality tale; like the best horror movies, its true monsters remain cloaked until the final reel.
  27. Praise will stick with you. It's more than worthy of its title.
  28. Like the great space epics of the past, Christopher Nolan’s Interstellar distills terrestrial anxieties and aspirations into a potent pop parable, a mirror of the mood down here on Earth.
  29. Bolstered by animated re-enactments and Bob Richman's frosty cinematography, Unraveled is a mesmerizing one-man dive into narcissism, entitlement and unchecked greed.
  30. It's undeniably a trifle, but rarely is something like this done with such skill and, well, savoir-faire.

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