The New York Times' Scores

For 11,712 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Letters from Iwo Jima
Lowest review score: 0 Swearnet: The Movie
Score distribution:
11712 movie reviews
  1. The author's sardonic voice has been lost in most films based on his fiction, but this one nicely captures that unruffled Leonard authority. And since Get Shorty is about Hollywood, it invites the sneaky self-mockery that gives this film its comic punch. [20 October 1995, p. C1]
    • The New York Times
  2. Like so many European pictures these days, Read My Lips seems destined to be remade in Hollywood, and it is unlikely to be improved by the addition of vainer actors, a simpler screenplay and flashier direction.
  3. The most remarkable achievement of the film is its presentation of Lilya's story as both an archetypal case study and a personal drama whose spunky central character you come to care about so deeply that you want to cry out a warning at each step toward her ruination.
  4. At once highly naturalistic and dreamily abstract, playing out its mythic themes through vibrantly detailed characterizations (and remarkable performances by the entire cast). The Return announces the arrival of a major new talent.
  5. Pitched at the divide between art and industry, poetry and entertainment, it goes darker and deeper than any Hollywood movie of its comic-book kind.
  6. A rich, thought-provoking film.
  7. This small, nearly perfect film is a reminder that personal upheavals are as consequential in people's lives as shattering world events.
  8. Made for European television and originally divided into six one-hour episodes, the movie now runs an absorbing, astonishingly fast four and a quarter hours.
  9. In most movies, something happens; in Archipelago, many things happen, quietly yet meaningfully.
  10. When a final shot takes us outdoors to the real world, it’s possible to wonder whether a certain spontaneity, or a different kind of energy, has been missing from Mr. Saura’s immaculately vibrant film.
  11. Ms. Wilder, in her debut feature, riskily opts to leave much of the children’s educational activity fairly vague. Which gives it one more thing in common with school: You need to pay attention.
  12. Ms. Hunt's eye for detail has the precision of a short story writer's. She misses nothing.
  13. Drugstore Cowboy, Gus Van Sant Jr.'s glum, absorbing film about a clan of heroin addicts who travel around the Pacific Northwest Looting pharmacies of their supplies the way Bonnie and Clyde cleaned out banks, gives Matt Dillon the role of his career.
  14. It’s all just empty calories; what this movie desperately needs is conflict.
  15. By the time the movie is over, you feel as if the people in it were friends you know well enough to tire of, and to miss terribly when they go away.
  16. The indomitable personality and talents of the serial prison escapee Mark DeFriest outshine the weaknesses of this documentary that bears his name.
  17. Powerful and very bitter comedy.
  18. So verbally dexterous and visually innovative that you can't absorb it unless you have all your wits about you. And even then, you may want to see it again to enjoy its subtle humor and warm humanity.
    • 82 Metascore
    • 70 Critic Score
    Given the power of its story, One Day in September seems at times to be pushing too hard.
  19. The sweet, solemn music of George Harrison, who died two years ago, has rarely sounded more majestic than in the sweeping performances of the enlarged star-studded band that gathered in London at Royal Albert Hall on Nov. 29 to commemorate his legacy.
  20. Mr. Yamada is confident that by taking his time and relishing the leathery arrogance that is the perquisite of a director in his 70's, his audience will follow his whims.
  21. Requiem is a moving study of a tortured young woman more at peace with medieval ritual than with modern medicine.
  22. Mr. Larraín invites us to believe that history is on the side of the poets and the humanists, and that art will make fools of politicians and policemen. But he is also aware, as Pablo Neruda was, that history sometimes has other plans.
  23. National Lampoon's Animal House is by no means one long howl, but it's often very funny, with gags that are effective in a dependable, all-purpose way.
  24. It communicates the delights of pastiche rather than the thrill of original creation, a secondhand movie love that is seductive but not entirely satisfying.
  25. A metaphysical road movie about life, death and the limits of knowledge, Once Upon a Time in Anatolia has arrived just in time to cure the adult filmgoer blues.
    • 82 Metascore
    • 90 Critic Score
    A complex and quietly devastating indictment of chauvinist societies that see women as lovers, mothers and servants, and treat anyone who can’t fulfill those roles as a nonperson.
  26. Stranger by the Lake is seductive and fascinating, but it is also a bit trapped in its own conceit, and in its carefully maintained emotional detachment.
  27. There is nothing more enthralling than a good yarn, and Ten Canoes interweaves two versions of the same story, one filmed in black and white and set a thousand years ago, and an even older one, filmed in color and set in a mythic, prehistoric past.
  28. Has an appealing surface beauty, largely due to the talented cinematographer Virginie Saint Martin, and an equally shallow mystery.
  29. It takes Mr. Silva a while to finish his story, but the ending of The Maid is so intelligently handled and so generously and honestly conceived, it proves well worth the wait.
  30. Electrifying.
  31. When you get the shivers watching this wintry tale unfold, it won't be from the cold.
  32. Mr. Chabrol's droll assault on petit-bourgeois security feels like a satire of "Ordinary People" directed by Alfred Hitchcock.
  33. There is also something rather splendid about this extended-play peep show, as if Mr. Maddin had stumbled across a hitherto lost archive of cinema's less-than-innocent past. What makes all this nostalgia for a movie history that never happened is that, as is always the case with Mr. Maddin's work, it's executed with more love than irony and not a whit of derision.
  34. 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.
  35. Mr. Villeneuve, aided by Taylor Sheridan’s lean script, Roger Deakins’s parched cinematography and Johann Johannsson’s slow-moving heart attack of a score, respects the imperatives of genre while trying to avoid the usual clichés. It’s not easy, and he doesn’t entirely succeed.
    • 82 Metascore
    • 80 Critic Score
    Ne Change Rien is about the work, the mix of inspiration and hard labor that performers draw on from moment to moment, an alchemical event that cinema rarely shows.
  36. This dream of a movie is set in such a place; with its delicate shifts of tone, it could be a fairy tale by Faulkner
  37. Restrained but never tentative, remote yet enormously affecting, the movie’s evocation of artistic compulsion is accomplished with confidence and verve.
  38. Gonzalo Arijón’s documentary offers an incontrovertible argument for the necessity of team spirit in the face of catastrophe.
  39. A documentary necessarily conveys a point of view, and although Mr. Wiseman, as is his wont, is neither seen nor heard in a film that proceeds without commentary or subtitles, his spirit is palpable. Without overtly editorializing, the film quietly and steadfastly champions state-funded public education available to all.
  40. Mr. Almereyda takes Milgram, his work and ideas seriously but doesn’t suffocate them: Despite the story’s freight, the laboratory shocks and Milgram’s insistent melancholia, Experimenter is a nimble, low-frequency high.
  41. As these tumultuous events play out in the film... they generate the suspense of a smaller-scale "Seven Days in May."
  42. A masterpiece of indirection and pure visceral thrills, David Cronenberg's latest mindblower, A History of Violence, is the feel-good, feel-bad movie of the year.
  43. 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.
  44. The rare sports movie that deals with -- indeed positively relishes -- humiliation and disappointment.
  45. The result is a film as maddening and unpredictable as the character herself, held together by a fierce, risk-taking performance and flashes of overwhelming honesty.
  46. With impressive agility, Wadjda finds room to maneuver between harsh realism and a more hopeful kind of storytelling.
    • 81 Metascore
    • 80 Critic Score
    Like a slowed-down, more realistic and psychologically penetrating cousin of a Werner Herzog or Terrence Malick film, Los Muertos is primarily concerned with the rhythms and textures of life.
  47. His film opens with a lullaby, and while there is indeed something soothing in his images of repetitive, backbreaking toil, the music also serves as a reminder of childhood lost.
  48. The innovative fictional narrative, woven throughout, demonstrates that many of these young actors have learned their lessons well.
  49. A charming, earnest, sometimes ungainly mixture of history, criticism and high-minded gossip, Notfilm testifies to an almost inexhaustible fascination with the pleasures and paradoxes of cinema.
  50. Arrival isn’t a visionary movie, an intellectual rebus or a head movie; it’s pretty straight in some respects and sometimes fairly corny, with a visual design that’s lovely rather than landmark.
  51. Juno respects the idiosyncrasies of its characters rather than exaggerating them or holding them up for ridicule.
  52. With its free-floating imagery, Elena unfolds like a cinematic dream whose central image is water, which symbolizes the washing away of grief. But more than that, it represents the stream of life, with beautiful images of women floating through time.
  53. Cindy and Dean remain, for all their sustained agony and flickering joy, something less than completely realized human beings. Mr. Cianfrance's ingenious chronological gimmick, coupled with his anxious, clumsy plotting, leaves them without enough oxygen to burst into breathing, loving life.
  54. This well-made, low-key drama, written by Mr. Gay and Tomàs Aragay, offers some insights into terminal illness.
  55. Elegant, festive and very, very funny. [9 March 1994, p. C15]
    • The New York Times
  56. Stupendously entertaining.
  57. It is only fitting that a movie concerned with the power and beauty of drawing -- the almost sacred magic of color and line -- should be so gorgeously and intricately drawn.
  58. In setting Andre on his search for self, Mr. Rock has carved out a third way, in the process creating a black character who’s fully human and a comedy that’s wholly a blast.
  59. As the latest tribute -- Jim Brown’s loving documentary, Pete Seeger: The Power of Song -- makes clear, he’s still busy, still angry, still hopeful, still singing.
  60. Connor Jessup wonderfully inhabits the teenage Oscar, who observes others while trying to find himself.
  61. The result is a film with a stately, deliberate quality that insulates it against sentimentality and makes it all the more devastating.
  62. There is terrible pain here, and the main interest of the film is in how the characters respond to it and what their response says about China’s understanding of its recent history.
  63. Mr. Knight keeps a fairly steady distance from Ivan — underscoring certain tense passages with tighter close-ups — but moment by moment, with a twitch, a shudder, a look, it’s Mr. Hardy who movingly draws you in, turning a stranger’s face into a life.
  64. Like some of Mr. Spielberg’s other recent movies, notably “Lincoln” and “Munich,” this one is a meticulously detailed period piece that revisits the anxieties of the past while also speaking to those of the present. Yet it also feels lighter than those films, less weighted down by accreted history or maybe by a sense of duty to its significance.
  65. The subtlety of the film is both an accomplishment and a limitation. It’s hard not to want more for these women, and to wish you could see more of them.
  66. A charming and clever concoction.
  67. Ms. Denis has an extraordinary gift for finding the perfect image that expresses her ideas, the cinematic equivalent of what Flaubert called le mot juste.
    • The New York Times
  68. 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.
  69. Mr. Miller does his finest work with his three superb leads.
  70. As sublimely warming an experience as the autumn sun that shines benevolently on the vineyard owned by the film's central character.
  71. Bamako is something different: a work of cool intelligence and profound anger, a long, dense, argument that is also a haunting visual poem.
  72. In wistful tone and mood, Beginners at times hazily evokes the films of Wong Kar-wai, including "Chungking Express," a different kind of memory piece.
  73. The film has too many fits of uncontrolled laughter and other awkwardness that suggest an unedited home movie, but, in general, Twinsters makes for a heartfelt alternative to a traditional documentary approach.
  74. It is worth sticking with it until the end, since the third part is the most powerful.
  75. Ms. Campion, with her restless camera movements and off-center close-ups, films history in the present tense, and her wild vitality makes this movie romantic in every possible sense of the word.
  76. This is an essential film, but it is also a terribly dispiriting one.
  77. Brilliant, maddeningly enigmatic puzzle of a movie.
  78. There is also a need for stories that address the complex entanglements of love and sex honestly, without sentiment or cynicism and with the appropriate mixture of humor, sympathy and erotic heat. Weekend, Andrew Haigh's astonishingly self-assured, unassumingly profound second feature, is just such a film.
  79. Raw
    Raw, Julia Ducournau’s jangly opera of sexual and dietary awakening, is an exceptionally classy-looking movie about deeply horrifying behavior.
  80. Will fluffy, poodlelike chickens replace cats on the internet? Maybe not, but these chicken people, with deep connections to their birds, make for a fun and at times astonishing film.
  81. The movie raises disquieting questions, including a few that Mr. Mansky might not have meant to.
  82. Unfolding in simple yet wonderfully expressive hand-drawn frames, the film’s unsparingly observant plot depicts the slide into senility with empathy and imagination.
  83. Invites you to contemplate the symbolic vibration of every hue in its teeming, overcrowded canvas.
  84. As operatic cinema, it ranks alongside the best of Martin Scorsese and Francis Ford Coppola.
  85. Leviathan, a product of the Sensory Ethnography Lab at Harvard, offers not information but immersion: 90 minutes of wind, water, grinding machinery and piscine agony.
  86. The contradictions of adolescence have rarely been conveyed with such authenticity and force.
  87. Little Shop of Horrors isn't uniformly entertaining, nor is its score always entirely audible; the musical dubbing is at times very awkward. But its best moments are delightful enough to make the slow stretches unimportant.
  88. No
    Marshall McLuhan called advertising the greatest art form of the 20th century. In No, Pablo Larraín’s sly, smart, fictionalized tale about the art of the sell during a fraught period in Chilean history, advertising isn’t only an art; it’s also a way of life.
  89. Because “Merrily” was a musical about the ravages of time on friendship and youthful ideals, the documentary tells parallel stories — one fictional, the other real — of disappointment and disillusion. They give the film a double shot of poignancy.
  90. The film has the requisite surface fidelity.... But it also has moments of lightness and strangeness, as well as kinks and sour notes, which strengthen the sense that these are people, not figurines in a dutiful, paint-by-numbers biopic.
  91. The son's search is one of three strands of a story that the movie weaves into a meticulously structured portrait of a complicated man who remains elusive even after key elements of the puzzle have been pieced together.
  92. Since Mr. Wright and Mr. Pegg are essentially parodying self-parodies, they have also smartly kinked up their conceit by setting most of the film in a sleepy village that might as well be called Ye Old English Towne, thereby wedding one of the most irritating British exports to one of the most absurd American ones. Think of it as "The Full Monty" blown to smithereens.
  93. So much in this meticulous and moving film is between the lines, and almost nothing is by the book.
  94. Buoyed by a fully integrated soundtrack, Kati With an I delivers a lovingly personal observation of young people at a crossroads. The film's sound is not always crisp, but no matter: Kati's story is written in every vital, vérité frame.
  95. Trading the cooler, more emotionally detached style and vibe that characterized "Home," her debut feature, about a family falling apart, Ms. Meier quietly goes for the emotional jugular in Sister.
  96. Like "Inglourious Basterds," Django Unchained is crazily entertaining, brazenly irresponsible and also ethically serious in a way that is entirely consistent with its playfulness.

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