The New York Times' Scores

For 9,006 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Sweet Smell of Success (re-release)
Lowest review score: 0 Tied to a Chair
Score distribution:
9,006 movie reviews
  1. The filmmaker creates schematic, intuitive images that hauntingly crystallize the characters' situations.
  2. In these risk-averse times, it is a pleasure to see a film that fails by attempting too much. Frustrating and demanding as it may be, La Commune (Paris, 1871) is essential viewing for anyone interested in taking an exploratory step outside the Hollywood norms.
  3. 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.
  4. The humor bubbling through Finding Nemo is so fresh, sure of itself and devoid of the cutesy, saccharine condescension that drips through so many family comedies that you have to wonder what it is about the Pixar technology that inspires the creators to be so endlessly inventive.
  5. 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.
  6. One of those films that create a mix of erudition, pageantry and delectable acting opportunities, much as "Shakespeare in Love."
  7. Irresistable, nimble and very funny.
  8. The script of Before Sunset is both rambling and self-conscious, and at times it has the self-important sound of clever writing. But though it is sometimes maddening, the movie's prodigious verbiage is also enthralling.
  9. Because it is so visually splendid and ethically serious, the movie raises hopes it cannot quite satisfy. It comes tantalizingly close to greatness, but seems content, in the end, to fight mediocrity to a draw.
  10. What Mr. Crowe has done is nonetheless remarkable. He has made a movie about sex, drugs and rock 'n' roll that you would be happy to take your mother to see.
  11. There's as much at stake in the hilarious, moody and cantankerous film adaptation of "Splendor" as there was in this summer's other movies of comic-book antiheroes like "The Hulk" and "The League of Extraordinary Gentlemen."
  12. 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]
  13. 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.
  14. A virtuoso ensemble piece to rival the director's "Nashville" and "Short Cuts" in its masterly interweaving of multiple characters and subplots.
  15. Its focus is purposely narrow. But that narrow focus, along with the lack of fully realized characters, and the absence of any historical or political context, raises the question of why, notwithstanding the usual (if shaky) commercial imperative, this particular movie was made.
  16. Warm, affecting and refreshingly shtickless, he (Carrey) occupies center stage here through sheer, beguiling force of personality.
  17. Mr. Jarecki finds a way to show that denial and hope often grow from the same vine. Lives are built around the way they're harvested -- and this talented director has a feel for the soil.
  18. Mr. Bale, like some other stars who embrace playing ugly, feels as if he’d been liberated by all the pounds he’s packed on and by his character’s molting looks, an emancipation that’s most evident in his delicately intimate, moving moments with Ms. Adams and Ms. Lawrence.
  19. No other performer (Jack Nicholson) in an Antonioni film, except Jeanne Moreau in "La Notte," has so gracefully submitted to Mr. Antonioni and survived intact. (Review of Original Release)
  20. Persepolis, austere as it may look, is full of warmth and surprise, alive with humor and a fierce independence of spirit.
  21. The horror of The Act of Killing does not dissipate easily or yield to anything like clarity.
  22. 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.
  23. Full of nuance and complexity, but it is also as accessible and engrossing as a grand 19th-century novel.
  24. The easy, complacent distance that informs much historical filmmaking is almost entirely absent from this supremely intelligent, unfailingly honest movie.
  25. Mr. Lee, whose lean, straightforward documentary style loses none of his usual clarity and fire (the film has been exceptionally well shot by Ellen Kuras), summons a powerful sense of Birmingham's past and a galvanizing sense of how this bombing would change its future.
  26. A gorgeous entertainment, a feast of blood, passion and silk brocade. But though the picture is full of swirling, ecstatic motion, it is not especially moving.
  27. Although Mr. Petri quite consciously makes movies about ideas, he has, in his "Investigation," made a movie in which the ideas, and the man who seethes with them, have the shock and impact of the most fundamental kind of melodrama.
  28. This remarkably terse movie doesn’t waste a word or an image. It refuses to linger over each little crisis its characters endure. And its detachment lends a perspective that widens the film’s vision of people reacting to events beyond their control.
  29. Thorough, understated and altogether enthralling documentary.
  30. This is life as it’s lived, not dreamed. And this is a family bound not only by sorrow, but also by a shared history that emerges in 114 calibrated minutes and ends with a wallop.

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