The New York Times' Scores

For 9,703 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 This Is Not a Film
Lowest review score: 0 The Best and the Brightest
Score distribution:
9,703 movie reviews
  1. Watchers of the Sky is a film that can dash hopes about humanity but also raise them in depicting the stories of these tireless defenders.
  2. At once admirable and deeply unsettling.
  3. The political implications of the film are manifest, as is the quiet courage of making it.
  4. Powerful, insightful, important and emotionally wrenching.
  5. Sustains a perfect balance of pathos, humor and a clear-headed realism. One tiny misstep, and it could have tumbled into an abyss of tears.
  6. It's a gift for moviegoers to have this much freedom, and exhilarating. In Holy Motors you never know where Mr. Carax will take you and you never know what, exactly, you're to do once you're there.
  7. Thornton is sadly affecting in the film's central role.
  8. 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.
  9. You may not agree with every observation in Michael Singh’s documentary Valentino’s Ghost. But this engrossing examination of American perceptions of Arabs and the Arab world gets you thinking.
  10. In the Shadow of the Moon is such a morale booster. The power of its archival images hasn’t diminished with familiarity.
  11. Maddin's real point -- and, for admirers of this brilliant and idiosyncratic artist, the true source of the movie’s interest -- is that Winnipeg explains him.
  12. A tough and touching exploration of honor and friendship among thieves.
  13. It is a great movie, by a major figure in world cinema.
  14. Children of Men may be something of a bummer, but it’s the kind of glorious bummer that lifts you to the rafters, transporting you with the greatness of its filmmaking.
  15. The characters and situations are interesting enough, and the filmmaking is sufficiently skilled to provide a measure of reasonably thoughtful entertainment.
  16. The rare documentary that combines a wildly charismatic subject with an elegant structure...not-to-be-missed.
  17. Like the great films of the 1930's and early 40's, it is at once artful and unpretentious, sophisticated and completely accessible, sure of its own authority and generous toward characters and audience alike -- a movie whose intended public is the human race.
  18. Moonrise Kingdom breezes along with a beautifully coordinated admixture of droll humor, deadpan and slapstick. Like all of Mr. Anderson's films, though, there's a deep, pervasive melancholia here too.
  19. Even better on a second viewing because the film is such a pure expression of the director's love for the music, a love so infectious it should leave you elated.
  20. An astonishing documentary of culture clash and the erasure of history amid China’s economic miracle.
  21. High Hopes manages to be enjoyably whimsical without ever losing its cutting edge.
  22. Astonishingly well acted film, so much so that it seems unfair to single out any of the performances. Mr. Lawrence's camera sense is as sure and unobtrusive as his feel for acting. The movie just seems to happen, to grow out of the ground like a thorny plant, revealing the intricate intelligence of its design only in hindsight.
  23. The mystery of Séraphine de Senlis -- who died in a mental hospital in 1942 and whose work survives in some of the world’s leading museums -- is left intact at the end of Séraphine. Rather than trying to explain Séraphine, the film accepts her.
  24. Suzy's marriage, Nick's divorce, Paul's work history: none of it is my or anyone else's business. But these things -- these people -- have become, through Mr. Apted's films, a vital part of modern life, which seems to grow richer every seven years, when the new "Up" movie comes out.
  25. Naked is as corrosive and sometimes as funny as anything Mr. Leigh has done to date. It's loaded with wild flights of absurd rhetoric and encounters with characters so eccentric that they seem to have come directly from life. Nobody would dare imagine them.
  26. Mr. Brooks's screenplay overstates matters both at the beginning of the film and at the end, with a prologue that strains to be cute and an epilogue that is just unnecessary. In between, however, the movie is a sarcastic and carefully detailed picture of a world Mr. Brooks finds fascinating and also a little scary.
  27. Harvey Milk was an intriguing, inspiring figure. Milk is a marvel.
  28. Looks grand without being overdressed, it is full of feeling without being sentimental. Here’s a film for adults. It’s also about time to recognize that Mr. Ivory is one of our finest directors. [5 November 1993, p. C1]
    • The New York Times
  29. One of the movie's dark running jokes is that everyone seems to speak a different language and has trouble communicating. The continual struggle of people to make themselves understood becomes a metaphor for the war itself.
  30. Lagaan may look naïve; it is anything but. This is a movie that knows its business — pleasing a broad, popular audience -- and goes about it with savvy professionalism and genuine flair.

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