The New York Times' Scores

For 10,360 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Ghost World
Lowest review score: 0 The Big Bang
Score distribution:
10,360 movie reviews
  1. 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.
  2. Extraordinary labor of love.
  3. As fascinating as it is freakish. It confirms Mr. Lynch's stature as an innovator, a superb technician, and someone best not encountered in a dak alley. [19 September 1986]
    • The New York Times
  4. A devilishly entertaining crime story with a heroine who must be seen to be believed, is as satisfying an ensemble piece as “Red Rock West.” [26 October 1994, p. C13]
    • The New York Times
  5. By surrendering any semblance of rationality to create a post-Freudian, pulp-fiction fever dream of a movie, Mr. Lynch ends up shooting the moon with Mulholland Drive.
  6. Bathed in the flamingo colors and Caribbean rhythms of its location, this deeply personal debut from the writer and director Mariette Monpierre develops with a lingering attention to sensation and sound.
  7. An irresistible black comedy and a wicked delight. [27 Sept 1995]
    • The New York Times
  8. Mr. Heinzerling is an artist too. The window he has opened onto the lives of his subjects is a powerful and beautiful visual artifact in its own right.
  9. Barbara is a film about the old Germany from one of the best directors working in the new: Christian Petzold. For more than a decade Mr. Petzold has been making his mark on the international cinema scene with smart, tense films that resemble psychological thrillers, but are distinguished by their strange story turns, moral thorns, visual beauty and filmmaking intelligence.
  10. In our wistful estimation, the most delightful comedy-romance in years.
  11. Hollywood's latest big-budget, high-concept, mass-market reworking of material not entirely fresh, has more endings than Beethoven's Fifth, but it's also packed with surprises, not the least being that it's a smashing work. It's vulgar, violent, funny and sometimes breathtakingly beautiful.
  12. A triumph of modesty and of seriousness that also happens to be one of the finest American films of the year.
  13. One of the most insightful and wrenching portraits of the joys and tribulations of being a classical musician ever filmed.
  14. The entire film is played at such high pitch it may well exhaust audiences that don't come prepared. And, at the heart of the film, there is the mystery of Jake himself, but that is what separates Raging Bull from all other fight movies, in fact, from most movies about anything. Raging Bull is an achievement.
  15. The film’s strange mixture of primitive and poetic images becomes etched into memory. Weaving observation and a shared dream state, this is an intuitive and intricate exploration into the feeling of sound.
  16. It is a movie about the lure and folly of greatness that comes as close as anything I've seen recently to being a great movie. There will be skeptics, but the cult is already forming. Count me in.
  17. The filmmaker Sarah Leonor has a keen eye and a gentle, unassuming touch. In The Great Man, she discreetly changes moods and storytelling modes like a pianist sliding her hand down a short, soft glissando.
  18. The rare sports movie that deals with -- indeed positively relishes -- humiliation and disappointment.
  19. The rare documentary that combines a wildly charismatic subject with an elegant structure...not-to-be-missed.
  20. Superior entertainment, the most elegantly pleasurable movie of its kind to come around in a very long time.
  21. Stories We Tell has a number of transparent virtues, including its humor and formal design, although its most admirable quality is the deep sense of personal ethics that frames Ms. Polley’s filmmaking choices.
  22. Before Midnight is a wonderful paradox: a movie passionately committed to the ideal of imperfection that is itself very close to perfect.
  23. One of the most purely enjoyable films ever made.
  24. The Grifters moves with swift unsentimental resolve toward a last act as bleak as any in recent American screen literature. In a less skillful work, it would be a downer. The Grifters is so good that one leaves the theater on a spellbound high. [5 Dec 1990]
    • The New York Times
  25. Every shot — everything you see, and everything you don’t — imparts a disturbing and thrilling sense of discovery.
  26. Black Swan is visceral and real even while it's one delirious, phantasmagoric freakout.
  27. Brilliant, bizarre, dazzling and utterly demented, The Last Circus views Franco-era Spain through the crazed eyes of two clowns doing battle for the love of one magnificent woman.
  28. The film is above all a consummate work of art, one that transcends the historically fraught context of its making, and its pleasures are unapologetically aesthetic. It reveals, excites, disturbs, provokes, but the window it opens is to human consciousness itself.
  29. But the film Schindler's List, directed with fury and immediacy by a profoundly surprising Steven Spielberg, presents the subject as if discovering it anew. [15 Dec 1993]
    • The New York Times
  30. 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

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