The New York Times' Scores

For 11,409 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 American Hustle
Lowest review score: 0 Simon Birch
Score distribution:
11409 movie reviews
  1. Something close to a masterpiece, a work of extreme -- I am tempted to say evil -- genius.
  2. Mr. Boyle has a knack for tackling painful, violent or unpleasant subjects with unremitting verve and unstoppable joie de vivre.
  3. With Where the Wild Things Are Jonze has made a work of art that stands up to its source and, in some instances, surpasses it.
  4. Mr. Nance turns his thought into a performance of vulnerability that’s all too relatable in its indulgences. It has heart without becoming cloying.
  5. Even in the most chaotic fights and collisions, everything makes sense. This is not a matter of realism — come on, now — but of imaginative discipline. And Mr. Miller demonstrates that great action filmmaking is not only a matter of physics but of ethics as well. There is cause and effect; there are choices and consequences.
  6. Dropping us into a perfect storm of avarice, this cool and incisive snapshot of global capitalism at work is as remarkable for its access as for its refusal to judge.
  7. Full of brilliantly executed coups de théâtre, showing the director's natural flair for spectacle.
  8. Not merely an interesting document from a far-off place; it is a masterpiece.
  9. [Allen's] most sustained, satisfying and resonant film since “Match Point.”
  10. Toni Erdmann, proceeding in a perfectly straightforward manner, from one awkward, heartfelt, hilarious scene to the next, wraps itself around some of the thorniest complexities of contemporary reality.
  11. Duchess of Langeais seems to me a nearly impeccable work of art -- beautiful, true, profound.
  12. A small movie perfectly scaled to the big performance at its center.
  13. "Print the legend," Mr. Wilson says at one point, both quoting John Ford and laying the foundation for his own often fact-free fabulous fabulism. And this movie is just that -- fabulous.
  14. Thanks to exultant wit and so many distinctive voices, Toy Story is both an aural and visual delight.
  15. With its careful, unassuming naturalism, its visual thrift and its emotional directness, Million Dollar Baby feels at once contemporary and classical, a work of utter mastery that at the same time has nothing in particular to prove.
  16. Turns out to be a smashing success, a juggernaut of an action-adventure saga that owes noithing to the past. To put it simply, thi is a home run. [6 August 1993, p. C1]
    • The New York Times
  17. Mr. Turner is a mighty work of critical imagination, a loving, unsentimental portrait of a rare creative soul. But even as it celebrates a glorious painter and illuminates the sources of his pictures with startling clarity and insight, the movie patiently and thoroughly demolishes more than a century’s worth of mythology about what art is and how artists work.
  18. A beautifully written, seamlessly directed film with award-worthy performances by Ms. Rampling and Ms. Young.
  19. Lacking epic pretensions and modest in scale, running under 90 minutes, Anesthesia is really closer in spirit to Rodrigo García’s delicate 2005 gem, “Nine Lives.” And it doesn’t waste a word or an image.
  20. A tough, gorgeous, vastly entertaining throwback to the Hollywood that did things right. As such, it enthusiastically breaks most rules of studio filmmaking today.
  21. An entire family chronicle, along with four decades of French social and economic history, is recapitulated as a lavish, hectic dinner, complete with music and belly dancing. It will leave you stunned and sated, having savored an intimate and sumptuous epic of elation and defeat, jealousy and tenderness, life and death, grain and fish.
  22. Inside Out is an absolute delight — funny and charming, fast-moving and full of surprises. It is also a defense of sorrow, an argument for the necessity of melancholy dressed in the bright colors of entertainment.
  23. Even as Mr. Mungiu maintains a detached, objective point of view, allowing the details of the story to speak for themselves, he also allows you to glimpse the complex and volatile inner lives of his characters.
  24. The audacity of The Missing Picture — a brilliant documentary about a child who held on to life in Cambodia’s killing fields — is equaled only by its soulfulness.
  25. This lean character-driven movie has such an acutely observant screenplay that it is easy to empathize with people struggling to make a decent living by hook or crook. Its psychological precision elevates it to something more than a genre piece.
  26. Aquarius is a marvelous and surprising act of portraiture, a long, unhurried encounter with a single, complicated person. And that is enough to make it a captivating film, an experience well worth seeking out. But there is also, as I’ve suggested, more going on than the everyday experiences of a modern matriarch.
  27. I'll go out on a limb: I can't believe the year will bring forth anything to equal The Purple Rose of Cairo. At 84 minutes, it's short but nearly every one of those minutes is blissful.
  28. Despite its affection for the quirks of its characters and their milieu, the film is most memorable for its gravity, for the almost tragic nobility it finds in sad and silly circumstances.
  29. Here he (Murray) supplies the kind of performance that seems so fully realized and effortless that it can easily be mistaken for not acting at all.
  30. How did Mr. Panahi do this? I'm at a bit of a loss to explain, to tell you the truth, since my job is to review movies, and this, obviously, is something different: a masterpiece in a form that does not yet exist.

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