The New York Times' Scores

For 9,991 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 Camden 28
Lowest review score: 0 Hush
Score distribution:
9,991 movie reviews
  1. Louisiana's delta country has never looked more darkly, lusciously sensual than it does in Eve's Bayou, a Southern gothic soap opera, written and directed by Kasi Lemmons, that transcends the genre through the sheer rumbling force of its characters' passions.
  2. His sumptuous film is as strange and mesmerizing as it is imaginatively ghastly. It's a sophisticated, spookily intense rendering of Ms. Rice's story.
  3. Painfully stark yet utterly magnetic, You Don't Like the Truth: 4 Days Inside Guantánamo presents excerpts from the 2003 interrogation of the 16-year-old Omar Khadr, a Canadian citizen accused of killing an American soldier during a firefight in an Afghan village.
  4. What Bridegroom celebrates is not simply gay rights; it’s the human spirit.
  5. Ms. Blecher draws fine performances out of the young actors and, to her credit, sugarcoats nothing.
  6. Mr. Urzendowsky, with his dark curls, fine cheekbones and sad eyes, is a very credible first love, while Ms. Créton uncannily captures Camille's resolution as well as her almost willful vulnerability.
  7. A documentary about the unending mess that is the Atlantic Yards project, is unabashedly slanted and as a result will probably be dismissed by those it portrays unflatteringly. That's unfortunate, because this film should be discouraging and dismaying for people on all sides of the project, for what it says about oversize expectations and missed opportunities.
  8. The anomalous proliferation of scenic beauty gives Mr. Nolan irony to play with, and he uses it spectacularly. The director and his gifted cinematographer, Wally Pfister, are clearly turned on by all this wasted beauty.
  9. Marley is a detailed, finely edited character study whose theme - Marley's bid to reconcile his divided racial legacy - defined his music and his life.
  10. What lifts the film above many other high-minded documentaries dealing with poverty and the welfare cycle is this filmmaker's astounding empathy for both Diane and Love.
  11. Ms. Garofalo, in a lovely, winning performance, gives Abby lots of heart while also making defensive snappishness a big part of her charm.
  12. Making sure that computer-generated animation will never be the same.
  13. Ape
    A biting, sometimes droll look at the allure of humiliation, Ape appears simple, but its underlying machinery is joltingly clever.
  14. [A] handsome, intelligently absorbing and stirring biographical portrait.
  15. Metropolis retains its power to overwhelm, trouble and move because it is connected to the deep anxieties of modern life as if by a high-voltage cable.
  16. The film ominously conveys a world of too much information but too little communication, where people have become slaves to glowing hand-held devices that were designed to make life easier but have made it busier and more complicated.
  17. The Day He Arrives has real force and its experimentation is in the service of a moving story about a man who, as he says at the start, has nowhere to go. And so he returns to a bar, a woman and situations that are always the same and yet always different - snow falls during one kiss but not another - playing a director whose life resembles a movie he keeps remaking.
  18. In its unassuming way, this tiny, low-budget film is a universal reflection on issues of personal identity and choice for which there are no easy answers.
  19. Innocenc doesn't just reveal a wealth of visual enchantments; it restates the case that there can and should be more to feature-length animations than cheap jokes, bathos and pandering.
  20. Mr. Pirozzi’s film is an unsparing and meticulous reckoning of the effects of tyranny on ordinary Cambodians. It is also a rich and defiant effort at recovery, showing that even the most murderous totalitarianism cannot fully erase the human drive for pleasure and self-expression.
  21. It's not one of Kurosawa's great films.... But it is, within its own proportions, nearly perfect.
  22. Polanski, who was a Jewish child in Krakow when the Germans arrived in September 1939, presents Szpilman's story with bleak, acid humor and with a ruthless objectivity that encompasses both cynicism and compassion.
  23. Two in the Wave honors that collaboration by carefully recounting its details and arguing for its significance. The films of Truffaut and Mr. Godard stand or fall by themselves, but together they made history.
  24. With his sound designer, Pablo Lamar, Mr. Mendonça has created the aural landscape of a horror movie. And, for much of its running time, a thriller without a plot.
  25. Ronin can be watched as appreciatively for its hard-boiled performances as for its visceral excitement.
  26. An exquisitely simple movie. Mr. Kim manages to isolate something essential about human nature and at the same time, even more astonishingly, to comprehend the scope of human experience.
  27. Mr. Scott's is something that must be seen. It is, in a word, compelling.
  28. Remarkable for its genuine, unpretentious lyricism.
  29. Offers the clearest analysis of globalization and its negative effects that I've ever seen on a movie or television screen.
    • 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.
  30. The hard-pounding heart of Mother, Ms. Kim is a wonderment. Perched on the knife edge between tragedy and comedy, her delivery gives the narrative -- which tends to drift, sometimes beguilingly, sometimes less so -- much of its momentum.
  31. Ms. Abt provides an unusually honest, compassionate and challenging view of contemporary youth, neither sugarcoated nor prurient.
  32. In the end, Revenge of the Electric Car is a slick, enjoyable valentine to a retooling industry. This optimistic film lacks the outrage of the earlier work, but that's O.K. A movement needs its triumphs too.
  33. At once fuzzy-wuzzy and industrial strength, the tacky-sounding Kung Fu Panda is high concept with a heart.
  34. Is, in the end, a boisterous love song -- a funny valentine to London, to chaos and to human decency.
  35. Has enough going on to make it a classic. You'll want to own it.
  36. The film's depiction of the raw fear lurking below the brothers' braggadocio is the most pronounced emotion in a movie whose focus on the personalities of its criminals suggests an Australian answer to "Goodfellas," minus the wise-guy humor.
  37. A rush of a movie from South Korea that slips and slides from horror to humor on rivers of blood and offers the haunting image of a man, primitive incarnate, beating other men with an enormous, gnawed-over meat bone.
  38. This heartfelt documentary is also, more subtly, a tribute to the squadron of caregivers that has enabled Mr. Becker not only to survive for an extraordinarily long time but also to continue to compose music, using virtually the only part of him that still moves, his eyes.
  39. Fame High, a timely plug for arts education, does what its subjects hope to do: it opens our hearts and entertains with truth.
  40. Mr. Leigh has never been an artist for whom happy (word or idea) has been an easy fit. Life is sweet, as the title of another of his films puts it with a heart-swelling yes, but it’s also an eternal fight against doom and gloom, the soul-crushing no.
  41. For the most part, Nino Rota's music provides a rich melodic surrounding for the pictorial magnificence, and a heretofore unknown Verdi waltz that is played at the ball at the finish appropriately supplements this remarkably vivid, panoramic, and eventually morbid show. (Review of Original Release)
  42. Mr. Day-Lewis, looking wearily rugged and battling his way through several plausible boxing matches, once again breathes fire into the character of a high-minded loner, and his vitality lends real force to the film's moral arguments.
  43. When Mr. Eisenberg makes Mark's face go blank, the character seems scarily emptied out: it's a subtly great, at times unsettling, performance.
  44. A stirring, unexpectedly moving story of love and blood.
  45. Unfolding in New England over four vibrantly represented seasons, "Feelings" is a small-scale wonder. Pivotal events play out in the spaces between scenes, leaving only emotional imprints that we interpret within a timeline that may not be entirely linear.
  46. A spry teenage comedy that gets everything right, Stick It takes the usual batch of underdogs, dirt bags, mean girls and bimbos and sends them somersaulting through happy clichés and unexpected invention.
  47. Though it is, finally, an affecting story of two damaged men bound by blood and something like love (and also a thrillerish catalog of double crosses and shifting allegiances), it is, above all, a study in the patterns of chaos that govern penitentiary life.
  48. If Hadewijch is Mr. Dumont's most overtly religious film, it is not pro-faith in any specific way, although the director clearly respects the religious impulse.
  49. By the time the final measure of rough cosmic justice is meted out, The Square has completed a tour of moral squalor that is suspenseful, invigorating and sometimes harshly funny.
  50. It is a relief to encounter such exuberant and infectious silliness.
  51. Paxton's Dad may be the most terrifying father to appear in a horror film since Jack Nicholson went crazily homicidal in "The Shining."
  52. With beauty, mild and sharp jolts, and mesmerizing camerawork, he (Gaspar Noe) tries to open the doors of perception.
  53. Elegant and deeply disquieting drama.
  54. Even through improbable moments and abrupt changes of pace and tone, Ms. Dench and Mr. Coogan hold the movie together.
  55. A mood poem to summer loving and sexual awakening, It Felt Like Love powerfully evokes a time when flesh is paramount, and peer behavior is the standard by which we judge our own.
  56. 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.
  57. By showing how fiercely dedicated idealists are making a difference, it is a call to arms.
  58. In the manner of a Satyajit Ray film, The Pool avoids melodrama, the better to capture the texture of Venkatesh's vagabond life.
  59. The movie takes no political positions. With an icy detachment, it peers through the fog of war and examines the slippery military intelligence on both sides to portray a world steeped in secrecy, deception and paranoia.
  60. Like other stories of musical tutelage, Keep On Keepin’ On is ultimately an examination of the pursuit of greatness. It is a grueling and demanding endeavor, for sure, but also, for Mr. Terry and anyone lucky enough to enter his orbit, a source of unending joy.
  61. Exquisitely captured in natural light by the cinematographer Alexis Zabé, Juan’s journey is framed by sherbet-colored houses and lemon sidewalks, dipping palm fronds and a burnished, turquoise horizon. The director calls his style "artisan cinema"; I just call it dreamy.
  62. If the film doesn't add up to a cogent legal argument, neither does it have trouble delivering 2 hours and 20 minutes' worth of sturdy, highly charged drama.
  63. Shot with a sure hand and a cast of unknowns, the film doesn't so much tell a story as develop a tone and root around a place that, despite the intimate camerawork, remains shrouded in ambiguity.
  64. A tale of cinema, a story about the agonies of trying to work outside the cinematic mainstream (even in France!). Yet what makes the movie so affecting is that it’s also a love story about a family.
  65. Much of the appeal of True Lies comes from the smooth grafting of battle-of-the-sexes comedy onto a high-tech action picture.
  66. A brave film simply for daring to portray a nightmare lurking in the minds of middle-aged workers, people who might fear a film that addresses their insecurities this bluntly.
  67. The film is a snort-out-loud-funny master class of controlled chaos.
  68. The low-key, hand-held Family Jams may not ever attain the stature of, say, a concert film like D. A. Pennebaker's "Don't Look Back." But it should, as a record of musicians in youthful flower, sharing a loose, heartfelt camaraderie and lack of pretension.
  69. Fastidious and smart, and Ms. Swinton's fixated intensity isn't ever remote; we're always aware of how deeply she's feeling. Her work is magnificent.
  70. The fluidity and convenience of digital moviemaking tools explain some of its freshness, as does Ms. Klayman's history as a budding documentarian. It's clear from watching both the feature and its earlier iterations that, while she was learning about Mr. Ai, she was also learning how to tell a visual story. It's easy to think that hanging around Mr. Ai, a brilliant Conceptual artist and an equally great mass-media interpolater, played a part in her education.
  71. Kramer vs. Kramer is densely packed with such beautifully observed detail. It is also superbly acted by its supporting cast, including Jane Alexander, Howard Duff and George Coe.
  72. An attractive, messy drama riddled with violence and edged with comedy that comes with a hint of Grand Guignol, a suggestion of politics and three resonant, deeply appealing performances.
  73. 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.
  74. Dark Shadows isn't among Mr. Burton's most richly realized works, but it's very enjoyable, visually sumptuous and, despite its lugubrious source material and a sporadic tremor of violence, surprisingly effervescent.
  75. 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.
  76. The most powerful thing about The Pirogue is the way it deals with emotionally charged events matter-of-factly, rather than melodramatically. The story Mr. Touré has chosen to tell is both painfully specific - about these individuals, in this boat - and immeasurably vast, since the experience it depicts is shared by millions of people around the world. And yet somehow he gets the scale just right.
  77. Mr. Eastwood is also an adept director of his own performances and, perhaps more important, a canny manipulator of his own iconographic presence.
  78. Mr. Amalric, who directed this dark, delectable, shivery tale, adapting it from the Georges Simenon novel, sets its uneasy, dank mood with energetic economy.
  79. A modest, near-flawless gem, This Is England is the fifth feature by the young British director Shane Meadows, doing his best work since he first hit the festival scene in the mid-1990s with his hilarious, raw-hewn shorts “Small Time.”
  80. A sustained, alternatingly exhausting and aesthetically exhilarating howl of a film.
  81. In an era whose culture was defined by what the literary critic Richard Poirier called the performing self, Mr. Ali's persona was one of the greatest performances of all.
  82. A landmark feat of Japanese animation from the acknowledged master of the genre.
  83. There isn't a dishonest moment in Fairhaven, Tom O'Brien's piercing, wistful portrait of three longtime buddies in their mid-30s who reunite around a funeral in a southeastern Massachusetts fishing community.
  84. All sorts of macabre things have gone on, and are still going on just offscreen, in Jonahan Demme's swift, witty new suspence thriller.[14 February 1991]
    • The New York Times
  85. Offers the kind of experience that makes you glad movies exist.
  86. The curious thing about The Visitor is that even as it goes more or less where you think it will, it still manages to surprise you along the way.
  87. The film’s title, needless to say, has an ironic bite. One of the pleasures of The Merry Gentleman is Mr. Keaton's commitment to that bite, which never registers as cruel or gratuitous, just honest, weary, sad.
  88. Has a quiet, cumulative magic, whose source is hard to identify. Its simple, meticulously composed frames are full of mystery and feeling; it's an action movie that stands perfectly still.
  89. What is clear is that while there are several stories folded into Iris — a marriage tale, an ode to multiculturalism and a fashion spectacular — it is also about the insistent rejection of monocultural conformity.
  90. What resonates here are two men, two good men, whose lives have a paradoxically simple and complex bond beyond their profession. Step Up to the Plate asserts how family, in multifarious ways, can be the most deeply affecting of ensembles.
  91. Mongol -- or, as I prefer to think of it, "Genghis Khan: The Early Years" -- is a big, ponderous epic, its beautifully composed landscape shots punctuated by thundering hooves and bloody, slow-motion battle sequences.
  92. 5 Broken Cameras deserves to be appreciated for the lyrical delicacy of his voice and the precision of his eye. That it is almost possible to look at the film this way - to foresee a time when it might be understood, above all, as a film - may be the only concrete hope Mr. Burnat and Mr. Davidi have to offer.
  93. Inside this small canvas - almost the entire film unfolds in the one apartment - Mr. Eimbcke turns each character into an epic.
  94. Here Mr. Cantet -- whose earlier features include "Human Resources" and "Time Out," two other dramas about systems of power -- has done that rarest of things in movies about children: He has allowed them to talk.
  95. You want to see this movie, and you will want to talk about it afterward, even if the conversation feels a little awkward. If it doesn’t, you’re doing it wrong. There is great enjoyment to be found here, and very little comfort.
  96. Mr. German was just as stubborn in sticking to his personal vision (and revisions) as he was innovative in his storytelling, and he’s left behind a final opus that is hard to shake.
  97. Ms. Danhier manages to conjure a glorious and grungy bygone past without fetishizing it as a golden age. A bunch of people got together and did some stuff, and this is what it looked like.
  98. This movie is smarter and better acted and just plain funnier than most of its predecessors in the my-first-time genre, no matter which sex is losing what.
  99. Diner isn't lavish or long, but it's the sort of small, honest, entertaining movie that should never go out of style, even in an age of sequels and extravaganzas.

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