The New York Times' Scores

For 11,856 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: 60
Highest review score: 100 The Untouchables
Lowest review score: 0 Soldiers of Fortune
Score distribution:
11856 movie reviews
  1. Your religion or lack of one doesn't matter. At some point while watching the film, you may feel that music IS God, or if not, a close approximation of divinity.
  2. The Snowtown Murders reminds us that sometimes evil is immediately recognizable, but at other times it comes bearing bacon and beer.
  3. It is the funniest and saddest movie Mr. Baumbach has made so far, and also the riskiest.
  4. With its soft, bleached images and occasional detours into black-and-white stills, Turn Me On, set in an unspecified recent past, has a gentle oddness as unforced as its performances and as inoffensive as its dialogue.
  5. [A] pessimistic, grimly outraged and utterly riveting documentary.
  6. His Breakdown is a tough, vigorous exercise in pure action, shot with throwback expertise and, most refreshingly, without special effects.
  7. It is appropriately blunt, powerful and relentless, a study of male bodies in sweaty motion and masculine emotions in teary turmoil.
  8. Not since "Y Tu Mamá También" has a movie so palpably captured the down-to-earth, flesh-and-blood reality of high-spirited people living their lives without self-consciousness.
  9. Full of ideas about sexuality - some quite provocative, even a century after their first articulation - but it also recognizes and communicates the erotic power of ideas.
  10. Juno respects the idiosyncrasies of its characters rather than exaggerating them or holding them up for ridicule.
  11. There's no point in trying to tell you all the mad, naughty things that take place — the meetings with mysterious people, the encounters with beautiful girls, the bomb explosions, the chases, the violent encounter of Bond with a helicopter, a motor boat race. Nor is there any point in trying to locate the various characters in the plot, all of whom are deliciously fantastic and delightfully well played.
  12. A huge, initially ambivalent but finally adoring, Pop portrait of one of the most brilliant and outrageous American military figures of the last one hundred years.
  13. The tone is breezy, bright and brash, vividly illuminated by Ms. Juri’s extraordinarily unprotected and utterly fearless performance.
  14. Stunning...a film much tougher and more transfixing than its wan title.
  15. The laughs in Spike Lee’s corrosive Chi-Raq burn like acid. Urgent, surreal, furious, funny and wildly messy, the movie sounds like an invitation to defeat, but it’s an improbable triumph that finds Mr. Lee doing his best work in years.
  16. Mysterious, poetic and allusive, The Werckmeister Harmonies beckons filmgoers who complain of the vapidity of Hollywood movie making and yearn for a film to ponder and debate.
  17. Essential viewing for anyone who desires a sense of the finer human grain of a war that now commands the attention of the world as never before.
  18. The film they have put together is dense with sound and information, but it moves with a swift, lilting rhythm that is of a piece with the musical heritage it explores.
  19. Donald Cried is an acutely insightful, exquisitely written and acted triumph for Mr. Avedisian, who understands how the past permanently clings to us.
  20. By focusing on musicians who are talented but finally not good or persistent enough to succeed in the big time, Not Fade Away offers a poignant, alternative, antiheroic history of the big beat.
  21. Beautifully written and acted, Tell No One is a labyrinth in which to get deliriously lost.
  22. Beautiful in its minimalism, Nénette is no antizoo rant but a melancholy meditation on captivity.
  23. A rueful, warmly affecting film featuring a wonderful performance by Mr. Troisi, The Postman would be attention-getting even without the sadness that overshadows it. [14 June 1995, p. C15]
    • The New York Times
  24. What Winter on Fire lacks in journalistic detachment it more than makes up for in fidelity to the feelings and motives of the participants. It’s more than just a portrait of terror, anger, desperation and resolve; it communicates those emotions directly, into the bloodstream and nervous system of the audience.
  25. Doesn't try to cram messages of uplift down its audience's gullet. It's a great eggscape from banality.
  26. The rigor of Mr. Cronenberg’s direction sometimes seems at odds with the humanism of Mr. Knight’s script, but more often the director’s ruthless formal command rescues the story from its maudlin impulses. Mr. Knight aims earnestly for your heartstrings, but Mr. Cronenberg insists on getting under your skin. The result is a movie whose images and implications are likely to stay in your head for a long time.
  27. Boy
    This unpretentious comic tale of a youngster's growing relationship with a long-absent father has a surprising rhythmic genius: joy juxtaposed with humiliation, silliness with sadness, fantasy with reality, and none of it formulaic. The editing feels fresh, as does the film.
  28. Far from romanticizing creativity and the artistic process, Mr. Baumbach’s films portray the world of painters, filmmakers and literati as an overcrowded, amoral jungle of viperish entitled narcissists stealing from one another for fame and profit.
  29. What makes Half Nelson both an unusual and an exceptional American film, particularly at a time when even films about Sept. 11 are professed to have no politics, is its insistence on political consciousness as a moral imperative.
  30. The sibling directors Lisa and Rob Fruchtman have made a nuanced and deftly edited film about a complex issue.
  31. Featuring exceptional people doing extraordinary things, Blindsight is one of those documentaries with the power to make you re-examine your entire life -- or at least get off the couch.
  32. Mr. Jacobs has succeeded at one of the most difficult tasks given a director, which is to make a character come alive through the filmmaking, not exposition.
  33. It’s refreshing to see concrete solutions at work, many of them at the grass-roots level. And the optimism of those countering ineffective politicians and big business is infectious.
  34. Easily one of the finest pictures of 2003 or any other year.
  35. What will happen to her? The strength of this short, simple, perfect story of a young woman and her dog is that this does not seem, by the end, to be an idle or trivial question. What happens to Wendy -- and to Lucy -- matters a lot, which is to say that Wendy and Lucy, for all its modesty, matters a lot too.
  36. The director manages to evade both the stuffy antiquarianism and the pandering anachronism that subvert so many cinematic attempts at historical inquiry.
  37. Woven throughout is a deeply rewarding recognition of the sustaining power of female companionship.
  38. Enveloped in a sweetness that buffers the depths of its emotions, Hiroyuki Okiura’s A Letter to Momo explores the stains of loss and regret on a personality too young to articulate them.
  39. Mr. Abrams may be as worshipful as any Star Wars obsessive, but in The Force Awakens he’s made a movie that goes for old-fashioned escapism even as it presents a futuristic vision of a pluralistic world that his audience already lives in. He hasn’t made a film only for true believers; he has made a film for everyone (well, almost).
  40. It seems to me that by describing horror with such elegance and beauty, Kubrick has created a very disorienting but human comedy, not warm and lovable, but a terrible sum- up of where the world is at... Because it refuses to use the emotions conventionally, demanding instead that we keep a constant, intellectual grip on things, it's a most unusual--and disorienting--movie experience.
  41. Mr. Toback's film, partly because it restricts itself to Mr. Tyson's point of view, offers a rare and vivid study in the complexity of a single suffering, raging soul. It is not an entirely trustworthy movie, but it does feel profoundly honest.
  42. As it turns out, Mr. Perry, while busily establishing his economic independence, has been finding his voice as a filmmaker. And here, working with fine performers like Ms. Elise, Anika Noni Rose, Phylicia Rashad and Kerry Washington, he sings the song the way he likes it - with force, feeling and tremendous sincerity.
  43. Circo offers a touching chronicle of a dying culture harnessed to ambitions that remain very much alive.
  44. These interviews form the backbone of !W.A.R., and like the film, they're passionate, contentious, funny, sincere, politically attuned.
  45. Throughout, White is filled with exquisite scenes that don't press too hard...and those moments are all the richer for their understatement.
  46. Unapologetically designed both to inform and affect, Gabriela Cowperthwaite’s delicately lacerating documentary, Blackfish, uses the tragic tale of a single whale and his human victims as the backbone of a hypercritical investigation into the marine-park giant SeaWorld Entertainment.
  47. A River Runs Through It, Mr. Redford's beautiful and deeply felt new movie, puts him in an entirely new category as a film maker.
  48. With no grand speeches or oversized gestures, Mr. Katz creates a specific world that gracefully enlarges with universal meaning.
  49. Many of the passages in this gentle film may be universal, but the love here is extraordinary.
  50. With an eye for landscapes stunning and hellish, [Mr. Sauper] is the rare documentary filmmaker who not only takes on tough subjects but also explores them with a vivid visual and aural approach.
  51. Morris has fashioned a brilliant work of pulp fiction around this crime. [26 Aug 1988, p.C6]
    • The New York Times
  52. One of the most pleasant foreign films of the year, a funny, graceful and immensely good-natured work.
  53. The glue holding the film together is Adam Newport-Berra's elegant hand-held cinematography, which captures changing shades of winter and the frightened faces in natural light with an astonishing intensity.
  54. Never has a film so strongly been a product of a director's respect for its source. Mr. Jackson uses all his talents in the service of that reverence, creating a rare perfect mating of filmmaker and material.
  55. Undeniably, there's an element of corniness to this. But that doesn't keep An Officer and a Gentleman from being a first-rate movie - a beautifully acted, thoroughly involving romance.
  56. Mr. Krokidas deftly shows how the ambition to write is entangled with other impulses.
  57. Brilliant, over-the-edge concert film Notorious C.H.O. carries candid sexual humor into previously uncharted territory.
  58. N.P.H, as he's often called in these films, does indeed return, singing and dancing. And talking dirty. He, that stoned baby and a stunning riff on the tongue-stuck-to-a-pole scene in "A Christmas Story" will, for fans of this franchise, make this a blissful holiday season indeed.
  59. One of the few recent movies I have seen that plunged me into that rare, giddy state of pleasurable confusion, of not knowing what would happen next, which I associate with the reading and moviegoing experiences of my own childhood. But there is no reason that children should have a monopoly on this primal, wonderful experience.
  60. Personal Shopper is sleek and spooky, seductive and suspenseful. It flirts with silliness, as ghost stories do. And also with heartbreak.
  61. Victoria is a sensational cinematic stunt.
  62. In the end what elevates Mr. Hou’s films to the sublime -- and this one comes close at times -- are not the stories but their telling.
  63. A creative tour de force, an intellectual high-wire act as astonishing as it is entertaining.
  64. The movie's writer and director, Tom McCarthy, has such an appreciation for quiet that it occupies the same space as a character in this film, a delicate, thoughtful and often hilarious take on loneliness.
  65. Mr. Malkovich is one of the few actors capable of conveying genuine intellectual depth.
  66. [Mr. Audiard] makes popcorn movies disguised as art films, and vice versa. Dheepan is a bit like a Liam Neeson revenge-dad action thriller directed by the Dardenne brothers. I mean that in the best possible way.
  67. A handsome and fully imagined work of cautionary futuristic fiction.
  68. Like a perfect, short-lived love affair, its pleasure is accompanied by a palpable sting of sorrow. It leaves you wanting more, which I mean entirely as a compliment.
  69. A narrative path leading from the sincere to the ludicrous, and culminating in a final image of flabbergasting transcendance, gives Breaking the Waves its surprising power.
  70. This is by far the best film in the more recent trilogy, and also the best of the four episodes Mr. Lucas has directed. That's right (and my inner 11-year-old shudders as I type this): it's better than "Star Wars."
  71. You leave with a vivid sense of the man’s living presence and a reasonably thorough account of his life, work and associations. Given the sheer volume and variety of the work in question, this is an impressive achievement.
  72. When you get the shivers watching this wintry tale unfold, it won't be from the cold.
  73. The story’s seemingly clear notions of guilt on one side and grievance on the other are gradually nudged in unexpected directions.
  74. It's amazing to see a film so brazenly experimental, so committed to reflecting on the circumstances and techniques of its making, that is at the same time so intent upon delivering old-fashioned cinematic pleasures like humor and pathos, character and plot.
  75. There is something startling, even shocking, about the angle of vision Mr. Frammartino imposes by juxtaposing apparently disparate elements and lingering on what seem at first to be insignificant details. You have never seen anything like this movie, even though what it shows you has been there all along.
  76. This chilly tale of violent secrets and unvoiced misery relies heavily on the skill of actors who seem to know that one false move could tip the whole enterprise into comedy.
  77. The film skillfully interweaves several strands to tell a true story with a happy ending.
  78. There is plenty of drama in a teenager’s everyday life — no need to sensationalize — and Morris From America feels true to both the pleasures and the frustrations of its title character.
  79. This is a formula film, but it has the kind of good cheer and fine tuning that occasionally give slickness a good name.
  80. The film effectively recreates the sense of confusion over how to try to contain the leak and what might happen if the fuel ignited.
  81. Maybe that's romanticizing things, but baseball wouldn't be half as beautiful without its mythology.
  82. Mr. Miller does his finest work with his three superb leads.
  83. So good because it is one of those rare documentaries that combine information with smashing entertainment.
  84. The movie, beautifully shot and acted, earns its ultimate sense of hope by confronting real heartbreak head-on, and with compassion.
  85. Quiet, simple and soaked in sorrow, Hitler's Children takes a stripped-down approach to an emotionally sophisticated subject.
  86. An exuberant, exhilaratingly playful testament to being young and hungry -- for life and meaning and immortality, and for other young and restless bodies -- Reprise is a blast of unadulterated movie pleasure.
  87. The variable incongruities of Glory give it a queasy power uncommon in contemporary cinema. It’s the feel-bad movie of the spring.
  88. The three women in Clouds of Sils Maria love, talk and move, move, move, sharing lives, trading roles and performing parts. The lives they lead are messy and indeterminate, but each woman’s life belongs to her.
  89. You probably won't feel comfortable when Humanité is over, but as you leave the theater you will feel more alive than when you entered.
  90. The bright sun that blasts through Starlet, a thrillingly, unexpectedly good American movie about love and a moral awakening, bathes everything in a radiant light, even the small houses with thirsty lawns and dusty cars.
  91. The cumulative effect is that of watching misspent lives disintegrate before your eyes. Ms. Miller's canny accomplishment is a triumph, giving the material weight and heart. This is one of the finest pictures of the year.
  92. Marks the emergence of one of the more original and promising new voices to hit the international cinema scene in recent years.
  93. The purity and breadth of this meticulous study are all the more gratifying in view of its unprepossessing style.
  94. Nonetheless, the film's homespun quality (Ms. Canty, whose childlike voice provides intermittent narration, simply describes herself in the publicity notes as "the mom of four kids") works in its favor, as does its maker's agitated sincerity.
  95. Eminently likable...a splendid performance from Alec Baldwin in a far cry from his usual roles.
  96. This film aspires to be a meditation on (among other things) art, trust, loyalty, politics and popular culture. With utter simplicity, and with unexpectedly intense storytelling, it achieves all that and more.
  97. For all the alarming statistics cited in the film, Burn is not a depressing movie. The firefighters interviewed are remarkably resilient men who talk enthusiastically about the adrenaline rush of their work. And the film makes you thankful for members of this macho breed, who relish risking their lives to save others.
  98. Matching her subject’s lackadaisical rhythms, Ms. Huber has shaped an unusually poetic biopic.
  99. Ms. Hunt's eye for detail has the precision of a short story writer's. She misses nothing.
  100. The Hunter never declares who is good or bad or right or wrong. And the implications of Martin's decision when the moment of truth finally arrives are left for the viewer to unravel.

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