The New York Times' Scores

For 11,482 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 No Country for Old Men
Lowest review score: 0 Don't Tell
Score distribution:
11482 movie reviews
  1. Was it all for naught? Only weeks after the 23 partisans were arrested (and all but two promptly executed), Paris was liberated. Army of Crime is a passionate act of remembrance.
  2. Ran
    Though big in physical scope and of a beauty that suggests a kind of drunken, barbaric lyricism, ''Ran'' has the terrible logic and clarity of a morality tale seen in tight close-up, of a myth that, while being utterly specific and particular in its time and place, remains ageless, infinitely adaptable.
  3. Cameraperson isn’t a work of journalism or advocacy. It’s a scrapbook, a found poem assembled out of scraps and snippets of truth. And it is, above all, an act of showing rather than telling.
  4. Several times while watching the movie I laughed until the tears were running down my face.
  5. A supremely elegant and thoughtful parable. [14 September 1994, p. C11]
    • The New York Times
  6. Like most of Mr. Wiseman’s work, the movie is at once specific and general, fascinating in its pinpoint detail and transporting in its cosmic reach.
  7. Particle Fever is a fascinating movie about science, and an exciting, revealing and sometimes poignant movie about scientists.
  8. Hannah Arendt conveys the glamour, charisma and difficulty of a certain kind of German thought.... The movie turns ideas into the best kind of entertainment.
  9. Gideon’s Army is a bare film with no narrator and a minimal soundtrack. That’s all it needs to grab you by the throat.
  10. The ensemble of young actresses is a constantly restless and real presence, the perspective filtered mostly through the cheeky Lale but also through the group as a loving crew.
  11. A moving, intelligent and funny film about disasters that are commonplace to everyone except the people who experience them. Not since Robert Benton's "Kramer vs. Kramer" has there been a movie that so effectively catches the look, sound and temper of a particular kind of American existence.
  12. What makes this exquisitely observed slice of American screen realism transcend itself is finally its moral sensibility.
  13. Virtually nonstop exhilaration--a dramatic comedy not quite like any other, and one that sets new standards for Mr. Allen as well as for all American moviemakers. [7 February 1986]
    • The New York Times
  14. Lebanon is meticulous, nearly clinical in its attention to what happens in war -- specifically what happened in the first days of the Israeli invasion of Lebanon in 1982 -- but it is also a palpably and intensely personal film.
    • The New York Times
  15. The movie itself is a nonstop barrage -- somewhere between a riot and an orgy -- of crude, obnoxious gags and riffs. If you are a connoisseur of sexual, scatological or just plain stupid humor, you will find your appetite satisfied, even glutted.
  16. In its modest scope and mellow tone, 35 Shots of Rum resembles Olivier Assayas’s "Summer Hours," another recent film by a French director who has sometimes trafficked in provocation and extremity. Both movies embed extraordinary thematic richness within a simple, almost anecdotal narrative framework, and both achieve a rare eloquence about the state of the world by means of tact and reticence.
  17. It is the work of a director as fascinated by decency as by ugliness, and able to present the chaos of life in a series of pictures that are at once luminously clear and endlessly mysterious.
  18. Steven Spielberg's soberly magnificent new war film, the second such pinnacle in a career of magical versatility, has been made in the same spirit of urgent communication. It is the ultimate devastating letter home.
  19. There are few concert movies that were filmed were such abiding feeling and respect. It's of a potent vintage that goes down deceptively smoother with age.
  20. The rapport between Ms. Watts and Mr. Serkis is extraordinary, even though it is mediated by fur, latex, optical illusions and complicated effects. Mr. Serkis, who also played Gollum in the "Lord of the Rings" movies, is redefining screen acting for the digital age, while Ms. Watts incarnates the glamour and emotional directness of classical Hollywood.
    • 82 Metascore
    • 100 Critic Score
    Check your cynicism at the ticket booth. To Be Heard is one of the best documentaries of the year.
  21. You won't come out unaffected, because the depths of intimacy that the Mexican director Alejandro González Iñárritu plumbs here are so rarely touched by filmmakers that 21 Grams is tantamount to the discovery of a new country.
  22. The mood Mr. Weerasethakul conjures is all the more extraordinary when you consider that the movie’s premise, in the hands of almost any other director, would be used to build some kind of horror movie.
  23. My Perestroika gives you a privileged sense of learning the history of a place not from a book but from the people who lived it. Watching it is a little like attending a party in an unfamiliar city and discovering the place's secrets from the guests.
  24. When it's over, the realization of how much the movie means to you really sinks in; you can't get it out of your heart.
  25. The Grand Budapest Hotel, Mr. Anderson’s eighth feature, will delight his fans, but even those inclined to grumble that it’s just more of the same patented whimsy might want to look again. As a sometime grumbler and longtime fan, I found myself not only charmed and touched but also moved to a new level of respect.
  26. What is clear from this sober yet electrifying film is that the power of the Panthers was rooted in their insistence — radical then, radical still — that black lives matter.
  27. Timbuktu is an act of resistance and revenge because it asserts the power of secularism not as an ideology but rather as a stubborn fact of life.
  28. The importance of seeing, seeing the world deeply, is at the heart of this quietly devastating, humanistic work from the South Korean filmmaker Lee Chang-dong.
  29. A blazing, unlikely triumph about a man who is nobody's idea of a movie hero. Smart, funny, shamelessly entertaining and perfectly serious too.

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