The New York Times' Scores

For 10,361 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 E.T.: The Extra-Terrestrial (re-release)
Lowest review score: 0 Equilibrium
Score distribution:
10,361 movie reviews
  1. If 99 Homes is a scolding look at a society gone astray, it is also a minor masterpiece of suspense, as tightly wound as “Sicario,” Denis Villeneuve’s white-knuckle drug-war thriller, and almost as brutal.
  2. It's hard to imagine anyone but Mr. Pitt in the role. He's relaxed yet edgy and sometimes unsettling.
  3. When a film as profoundly quiet as In the Bedroom comes along, it feels almost miraculous, as if a shimmering piece of art had slipped below the radar and through the minefield of commerce.
  4. Mr. Guest and Mr. Levy's jokes are sometimes so subtle as to seem imperceptible, until you realize that they are everywhere, from the broadest gestures to the tiniest details of dress and décor.
  5. A movie that is almost indecently satisfying and at the same time elusive, at once intellectually lofty -- marked by allusions to Emerson, Shakespeare and Seamus Heaney as well as Nietzsche -- and as earthy as the passionate provincial family that is its heart and cosmos and reason for being.
  6. Gratifyingly complex and beautifully told, this tale explores a huge array of cultural, racial, economic and familial tensions. In the process, it also sustains strong characters, deep emotions and clear dramatic force.
  7. Three Sisters documents extreme poverty in rural China with the compassionate eye and inexhaustible patience of a director whose curiosity about his country’s unfortunates never seems to wane.
  8. In some ways, much like Charles Laughton's "Night of the Hunter," which the Coens quote both musically and visually, True Grit is a parable about good and evil. Only here, the lines between the two are so blurred as to be indistinguishable, making this a true picture of how the West was won, or - depending on your view - lost.
  9. City of Life and Death isn't cathartic: it offers no uplifting moments, just the immodest balm of art. The horrors it represents can be almost too difficult to watch, yet you keep watching because Mr. Lu makes the case that you must.
  10. From its very first scenes, Mr. Whedon’s film crackles with a busy, slightly wayward energy that recalls the classic romantic sparring of the studio era.
  11. The horror of The Act of Killing does not dissipate easily or yield to anything like clarity.
  12. It's a dazzling testament to the civilizing effects of several different arts, witty, joyous and so beautiful to look at that it must seem initially suspect to those of us who have begun to respond to spray-painted subway graffiti as the fine art of our time.
  13. Even though The Square depicts widely covered recent events, it still feels like a revelation. This is partly because of the immediacy of Ms. Noujaim’s approach, which often puts the viewer in the midst of chaos as it unfolds.
  14. One of this year's indisputably great films.
  15. Words do more than hurt, they also slash and burn in this sharp, dyspeptic, sometimes gaspingly funny exploration of art and life, men and women, being and nonbeing, and the power and limits of language.
    • 83 Metascore
    • 100 Critic Score
    Not merely a technical landmark -- shot entirely in digital 3D -- but also an aesthetic one, in that it’s the first Imax movie that deserves to be called a work of art.
  16. There is hardly a shortage of movies about rock ’n’ roll, but there are few as perfect — which is to say as ragged, as silly, as touching or as true — as We Are the Best!.
  17. Maintaining a strict formal allegiance to reserve and restraint, [Mr. Zobel] shapes a dreamily elegant emotional ballet from glances and gestures and subtle shifts in power.
  18. With marvelous discipline, Mr. Shapiro crams a wealth of material into a tight 77 minutes, smoothly communicating the group effort required to achieve the perfect shot.
  19. Mark Kendall’s quietly moving documentary, La Camioneta: The Journey of One American School Bus, is as modest and farsighted as its cast of Guatemalans who make a living resurrecting discarded American school buses.
  20. Mr. Herzog is also no ordinary filmmaker. It is the rare documentary like Grizzly Man, which has beauty and passion often lacking in any type of film, that makes you want to grab its maker and head off to the nearest bar to discuss man's domination of nature and how Disney's cute critters reflect our profound alienation from the natural order.
  21. J. C. Chandor, the writer and director of this pulpy, meaty, altogether terrific new film, and Bradford Young, its supremely talented director of photography, succeed in giving this beat-up version of the city both historical credibility and expressive power.
  22. The Girls in the Band is everything a worthwhile documentary should be, and then some: engaging, informative, thorough and brimming with delightful characters.
  23. Throughout We Were Here there is not a hint of mawkishness, self-pity or self-congratulation. The humility, wisdom and cumulative sorrow expressed lend the film a glow of spirituality and infuse it with grace.
  24. The best nondocumentary American feature made yet about the war in Iraq.
  25. As Frankie, Mr. Marlowe delivers a quiet, moving performance of such subtlety and truthfulness that you almost feel that you are living his life.
  26. Her shoulders slumped, her eyes weary, her gait heavy, Ms. Cotillard moves past naturalism into something impossible to doubt and hard to describe. Sandra is an ordinary person in mundane circumstances, but her story, plainly and deliberately told, is suspenseful, sobering and, in the original, fear-of-God sense of the word, tremendous.
  27. One of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment. [16 Mar 1972]
    • The New York Times
  28. A film whose best moments are so novel, so deliriously funny, and so crazily unexpected that they truly must be seen to be believed. [22 June 1988]
    • The New York Times
  29. Ida
    There is an implicit argument here between faith and materialism, one that is resolved with wit, conviction and generosity of spirit. Mr. Pawlikowski has made one of the finest European films (and one of most insightful films about Europe, past and present) in recent memory.

Top Trailers