The New York Times' Scores

For 9,905 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 The Camden 28
Lowest review score: 0 Hush
Score distribution:
9,905 movie reviews
  1. The filmmakers record the flash of youth’s headlong energies, its bumps and bruises, and its melancholies and brilliant chaos.
  2. 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.
  3. 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.
  4. A masterpiece about life, death and everything in between.
  5. 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.
  6. The best movie of its kind since the French director Guillaume Canet's hit from 2006, "Tell No One."
  7. Mr. Lee means for Malcolm X to be an epic, and it is in its concerns and its physical scope. In Denzel Washington it also has a fine actor who does for Malcolm X what Ben Kingsley did for “Gandhi.” [18 November 1992]
    • The New York Times
  8. Harvey Milk was an intriguing, inspiring figure. Milk is a marvel.
  9. Astonishing... One of the freshest American films of the decade. [4 Aug 1989]
    • The New York Times
  10. One of the most spectacular entertainments in years.
  11. That it is more -- a small masterpiece, perfect in design and execution -- almost goes without saying, but the film’s profundity and its charm go hand in hand.
  12. The camerawork in Birdman is an astonishment, and an argument that everything flows together, which in this movie means the cinematography, the story, the people, even time and space.
  13. That the film manages to be understated, calm and intelligent in spite of its wrenching subject matter is perhaps its most impressive accomplishment. In avoiding sensationalism, it feels very close to the truth.
  14. You may not agree with every observation in Michael Singh’s documentary Valentino’s Ghost. But this engrossing examination of American perceptions of Arabs and the Arab world gets you thinking.
  15. Extraordinary labor of love.
  16. As fascinating as it is freakish. It confirms Mr. Lynch's stature as an innovator, a superb technician, and someone best not encountered in a dak alley. [19 September 1986]
    • The New York Times
  17. A devilishly entertaining crime story with a heroine who must be seen to be believed, is as satisfying an ensemble piece as “Red Rock West.” [26 October 1994, p. C13]
    • The New York Times
  18. By surrendering any semblance of rationality to create a post-Freudian, pulp-fiction fever dream of a movie, Mr. Lynch ends up shooting the moon with Mulholland Drive.
  19. Bathed in the flamingo colors and Caribbean rhythms of its location, this deeply personal debut from the writer and director Mariette Monpierre develops with a lingering attention to sensation and sound.
  20. An irresistible black comedy and a wicked delight. [27 Sept 1995]
    • The New York Times
  21. Mr. Heinzerling is an artist too. The window he has opened onto the lives of his subjects is a powerful and beautiful visual artifact in its own right.
  22. Barbara is a film about the old Germany from one of the best directors working in the new: Christian Petzold. For more than a decade Mr. Petzold has been making his mark on the international cinema scene with smart, tense films that resemble psychological thrillers, but are distinguished by their strange story turns, moral thorns, visual beauty and filmmaking intelligence.
  23. In our wistful estimation, the most delightful comedy-romance in years.
  24. Hollywood's latest big-budget, high-concept, mass-market reworking of material not entirely fresh, has more endings than Beethoven's Fifth, but it's also packed with surprises, not the least being that it's a smashing work. It's vulgar, violent, funny and sometimes breathtakingly beautiful.
  25. A triumph of modesty and of seriousness that also happens to be one of the finest American films of the year.
  26. One of the most insightful and wrenching portraits of the joys and tribulations of being a classical musician ever filmed.
  27. The entire film is played at such high pitch it may well exhaust audiences that don't come prepared. And, at the heart of the film, there is the mystery of Jake himself, but that is what separates Raging Bull from all other fight movies, in fact, from most movies about anything. Raging Bull is an achievement.
  28. The film’s strange mixture of primitive and poetic images becomes etched into memory. Weaving observation and a shared dream state, this is an intuitive and intricate exploration into the feeling of sound.
  29. It is a movie about the lure and folly of greatness that comes as close as anything I've seen recently to being a great movie. There will be skeptics, but the cult is already forming. Count me in.
  30. The rare sports movie that deals with -- indeed positively relishes -- humiliation and disappointment.

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