The New York Times' Scores

For 10,199 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 The Piano
Lowest review score: 0 Oconomowoc
Score distribution:
10,199 movie reviews
  1. This brilliant, viciously amusing takedown of bourgeois complacency, gender stereotypes and assumptions and the illusion of security rubs your face in human frailty as relentlessly as any Michael Haneke movie.
  2. 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.
  3. The film itself is invigorating - written, directed, and acted with enormous insight and comic elan. [27 Sept 1991]
    • The New York Times
  4. A splendid example of how to tackle the daunting duty of turning a beloved work of classic literature into a movie. Neither a radical updating nor a stiff exercise in middlebrow cultural respectability, Mr. Fukunaga's film tells its venerable tale with lively vigor and an astute sense of emotional detail.
  5. It is both sad and hopeful, but the film's sorrow and its optimism arise from its rarest and most thrilling quality, which is its deep and humane honesty.
  6. In Boyhood, Mr. Linklater’s masterpiece, he both captures moments in time and relinquishes them as he moves from year to year. He isn’t fighting time but embracing it in all its glorious and agonizingly fleeting beauty.
  7. It reimagines the buddy film with such freshness and vigor that the genre seems positively new.
    • The New York Times
  8. It is outrageously funny without ever exaggerating for comic effect, and heartbreaking with only minimal melodramatic embellishment.
  9. 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.
  10. A blistering fictionalized tale straight out of China, A Touch of Sin is at once monumental and human scale.
  11. A remarkable piece of work. [30 June 1989]
    • The New York Times
  12. The Oscars are swell, but once in a while a film comes along that is so courageous it deserves consideration for the Nobel Prize. An entire generation has been born and gone to college since the Beastie Boys defined that most basic of civil liberties: You've got to fight for your right to party.
  13. Like a good novel, Les Destinées is many things: a family chronicle, a series of psychological portraits, a sumptuous re-creation of the past. But the film is also a pointed tribute to the French tradition of quality and distinction, a tradition in which it clearly includes itself.
  14. A swift and accessible entertainment, blunt in its power and exquisite in its effects.
  15. Mr. Fan's documentary is informed by a melancholy humanism, and finds unexpected beauty in almost unbearably harsh circumstances. It tells the story of a family caught, and possibly crushed, between the past and the future - a story that, on its own, is moving, even heartbreaking. Multiplied by 130 million, it becomes a terrifying and sobering panorama of the present.
  16. To put the matter perhaps more abstractly than such a sensual film deserves, it is about the fate of untameable, irrational desire in a world that does not seem to have a place for it.
  17. Rango, which may take place entirely within its hero's head - that kind of ambiguity worked in "Inception" and "Black Swan," so why not here? - is about the appetite for myths and stories, whether or not they make sense. It is about the worlds we dream inside our fishbowls, helped by the weird reflections on the walls.
  18. The film is slow, rigorously morose and often painful in its blunt reckoning of disappointment and failure. It is also extremely funny.
  19. To say that Charlie Kaufman's Synecdoche, New York is one of the best films of the year or even one closest to my heart is such a pathetic response to its soaring ambition that I might as well pack it in right now.
  20. A nearly flawless piece of popular art, as well as one of the most persuasive portraits of an artist ever committed to film. It provides the kind of deep, transporting pleasure, at once simple and sophisticated, that movies at their best have always promised.
  21. This is not a biopic, it’s a Coen brothers movie, which is to say a brilliant magpie’s nest of surrealism, period detail and pop-culture scholarship. To put it another way, it’s a folk tale.
  22. The movie is too beautiful to be described as an ordeal, but it is sufficiently intense and unyielding that when it is over, you may feel, along with awe, a measure of relief. Which may sound like a reason to stay away, but is exactly the opposite.
  23. Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect.
  24. Like "Inglourious Basterds," Django Unchained is crazily entertaining, brazenly irresponsible and also ethically serious in a way that is entirely consistent with its playfulness.
  25. An unqualified winner. Here is a fine dark comedy of flamboyant style and immense though seemingly effortless techniqe...It's an exhilarating original. [21 Aug 1991]
    • The New York Times
  26. Stupendously entertaining.
  27. Excellent quasidocumentary, which sends shivers down the spine. (Review of Original Release)
  28. A vibrantly vulgar comedy that never hangs around to admire its own cleverness.
  29. Clever, funny, wildly innovative film.
  30. Captain Phillips, a movie that insistently closes the distance between us and them, has a vital moral immediacy.

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