The New York Times' Scores

For 10,045 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 Ilo Ilo
Lowest review score: 0 Don't Tell
Score distribution:
10,045 movie reviews
  1. 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.
  2. 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.
  3. Mr. Rotaru paces the film perfectly, mixing performance footage with scenes of the competitors talking about their lives and the role music plays for them.
  4. The clammy chill that pervades The Hunter, the fourth feature film by the Iranian director Rafi Pitts, seeps under your skin as you wait for its grim, taciturn protagonist to detonate.
  5. Reality is a story about one man’s desire to make it big on the small screen, and something of a familiar exploration of the blurring between reality and its simulations. More elliptically and more interestingly, it is also a look at an Italy engrossed with rituals and spectacle, in watching and being watched.
  6. Mr. Moretti finds broad comedy in the antics of some clerics, who can seem as sweet as children, but in Melville there is pathos and there is tragedy, and not his alone.
  7. One of the best entertainments this season has yet offered.
  8. Serves up its scattershot plots as if they were lined up on a menu, moving from appetizer to entree: there are more intrigues here than in the court of the Medicis.
  9. The raw intimacy of some of the scenes -- whether they take place at a diner, in the death house or in the bedroom -- is breathtaking.
  10. A record of a man’s tormented youth, his broad artistic impulses and the price he paid for following them.
  11. A deliciously warped wallow in misogyny, depravity and dead-eyed manipulation, Cold Fish charts the twisted alliance of two tropical-fish salesmen with baleful glee.
  12. I hesitate, given the early date and the project's modesty, to call Into Great Silence one of the best films of the year. I prefer to think of it as the antidote to all of the others.
  13. One of the most subtle and inspired comedies you'll see this year.
  14. What appears on the screen has a starkness that is almost indelible.
  15. Bachelorette is more tartly written, better acted and less forgiving than male-centric equivalents like the "Hangover" movies.
  16. But instead of a dignified stroll down genealogy lane, Mr. Solnicki has made a sparking, gossipy soap opera that’s riddled with emotion and stuffed with strong characters.
  17. Anita is an important historical document about an event that prompted a larger cultural conversation about sexual harassment. But, perhaps more important, it conveys Ms. Hill’s journey from an accuser alone to an activist who shares with, and listens to, others.
  18. An unexpected delight, a film that weds the humor and magic of a folk tale with a very modern feel for the psychological dynamics between men and women and for the subtle politics of male rivalry in a macho culture. It has been made and acted with intelligence and evident love, which deserves to be requited.
  19. Woven together, these monologues of bereavement and confusion, illustrated with images so terrible they repel rational explanation, form a tapestry of human misery that's impossible to shake off.
  20. It is a heartbreaking film, and cruelty sometimes seems to be not only its subject but its method. Like the child on a high cliff that is one of its recurring images, the film walks up to the edge of hopelessness and pauses there, waiting to see what happens next.
  21. This pull-no-punches portrait shocks and amuses with equal frequency.
  22. The playful spookiness of Mr. Jackson's direction provides a lively, light touch, a gesture that doesn't normally come to mind when Tolkien's name is mentioned.
  23. The visual beauty of the film, rather than distracting from the troubling story, makes it more troubling still.
  24. Its subject is not addiction or ambition, or even love in a conventional romantic sense, but rather the more elusive and intriguing matter of intimacy: how it grows, falters and endures over time.
  25. Tamara Jenkins’s The Savages, is a beautifully nuanced tragicomedy about two floundering souls.
  26. A preternatural self-confidence and buoyancy infuse every syllable out of Ms. Channing's mouth in this entertaining film.
  27. Makes jaunty, imaginative use of both extraordinary technology and bold storytelling possibilities within the insect world.
  28. Fowler may be the richest character of Mr. Caine's screen career. Slipping into his skin with an effortless grace, this great English actor gives a performance of astonishing understatement whose tone wavers delicately between irony and sadness.
  29. In many respects Ceausescu turns out to be as much the author of this brilliant documentary as the director, Andrei Ujica, who waded through more than 1,000 hours of filmed state propaganda, official news reports and home movies to create a cinematic tour de force that tracks the rise, reign and grim fall of its subject.
  30. One of the few films I've seen this year that deserves to be called art. Dark as pitch, as noir, as hate, by turns beautiful and ugly, funny and horrifying, the film is also as cracked as Mad magazine, though generally more difficult to parse.
  31. So verbally dexterous and visually innovative that you can't absorb it unless you have all your wits about you. And even then, you may want to see it again to enjoy its subtle humor and warm humanity.
  32. Mr. Redford has found his own visually eloquent way to turn the potboiler into a panorama, with a deep-seated love for the Montana landscape against which his rapturously beautiful film unfolds.
  33. Before we go numb from such prefab excitement, here comes a mega-movie that actually delivers what mega-movies promise: strong characters, smart plotting, breathless action and a gimmick that hasn't been seen before.
  34. The film sustains an air of overarching mystery in which the viewer, like the title character, is in the position of a sheltered child plunked into an alien environment and required to fend for herself without a map or compass.
  35. Often soaringly beautiful melodrama.
  36. There are no easy payoffs in Stuck Between Stations, but the chemistry of its stars is reward enough.
    • 82 Metascore
    • 90 Critic Score
    Mr. Wang's slow-reveal psychological drama isn't just a showcase for his excellent ensemble cast. Beautifully modulated and stylistically sui generis, In the Family is also one of the most accomplished and undersold directorial debuts this year.
  37. Astonishingly, this is neither as depressing nor as arm-twistingly uplifting as you might expect. Mr. DaSilva’s experience behind a camera shows in his brisk pacing, clear narrative structure and the awareness that a story of sickness needs lighthearted distractions.
  38. Brutal, urgent, devastating -- the documentary The Devil Came on Horseback demands to be seen as soon as possible and by as many viewers as possible.
  39. The Playroom captures the malaise of mid-’70s suburbia with a merciless accuracy not seen since Ang Lee’s 1997 film, “The Ice Storm.”
  40. This small, nearly perfect film is a reminder that personal upheavals are as consequential in people's lives as shattering world events.
  41. During this meticulously written and exquisitely acted film, you come to sense the bonds and the wounds binding three generations of Monopolis, who definitely love one another, but with reservations.
  42. More elegantly plotted and streamlined than the first film.
  43. To call this thrillingly original, deeply felt movie a coming-of-age story would be to insult it with cliché. It’s much more the story, or rather a series of interlocking, incomplete stories, about what it feels like to be a certain age and to feel caught, as the title suggests, between the desire to be yourself and the longing to fit in.
  44. Mr. Herzog’s film is a pulpy, glorious mess. Its maniacal unpredictability is such a blast that it reminds you just how tidy and dull most crime thrillers are these days.
  45. Like a Ken Loach drama stripped to bare bones, The Arbor springs to life in the bright bitterness of Dunbar's prose, showcased in alfresco performances of contentious scenes from the play.
  46. He [Clooney] has found a cogent subject, an urgent set of ideas and a formally inventive, absolutely convincing way to make them live on screen.
  47. It is the work of a master -- of more than one, for that matter. Mr. Godard, who once called it "my first real film," was showing the obsession with, and mastery of, cinematic technique that would make him one of the culture heroes of the 1960's.
  48. Concentrating on the fine-tuned trivia that fuels so much television comedy, it also creates two bright, appealing heroines and watches them face life's little insults with fresh, disarming humor.
  49. Mr. Stone has taken a public tragedy and turned it into something at once genuinely stirring and terribly sad. His film offers both a harrowing return to a singular, disastrous episode in the recent past and a refuge from the ugly, depressing realities of its aftermath.
  50. Time slows to a near-standstill as the film peers into humanity’s troubled soul, glimpsed through the individual faces, which sometimes appear to be studying us as intently as we are studying them.
  51. She (Varda) plucks images and stories from the world around her, finding beauty and nourishment in lives and activities the world prefers to ignore.
  52. Alan, who Mr. Sachs has said was based on his own father, is a great character - passionate, complicated, bursting with life. Those words also describe Mr. Torn's performance.
  53. It is easily the finest American comedy since David O. Russell's "Flirting With Disaster," another road movie that never ran out of poignantly funny surprises.
  54. The story grips you entirely even if Ms. Denis’s worldview here finally feels like a tomb: terrifying, pitiless, inevitable.
  55. As the movie's frenetic visual rhythms and mood swings synchronize with the zany, adrenaline-fueled impulsiveness of its lost youth on the rampage, you may find yourself getting lost in this teeming netherworld.
  56. There are no simple answers or obvious conclusions to be gleaned from this movie, which, like its soundtrack, is both sad and vibrant, meandering and formally sure-footed. It is an exciting debut, and a film that, without exaggeration or false modesty, finds interest and feeling in the world just as it is.
  57. Far more than Norman's adventure, which takes him from home to a cemetery and deep into his town's history, what pulls you in, quickening your pulse and widening your eyes, are the myriad visual enchantments - from the rich, nubby tactility of his clothes to the skull-and-bones adorning his bedroom wallpaper.
  58. With a visual style and a deadpan humor that owes an obvious debt to the Finnish director Aki Kaurismaki ("Drifting Clouds"), they hold their shots long enough for you to scan details, look deep into faces and think on how little (or much) it takes to be happy. Here a painted Jesus hovers on a chipped wall, but it's an unholy family of three that finds heaven on earth.
  59. Even when it turns turbulent, the film sustains its warm summer glow, and makes itself a conversation piece about the moral issues it means to raise.
  60. The creativity grows like kudzu in Beauty Is Embarrassing, Neil Berkeley's enlightening and often hilarious portrait of the Los Angeles artist Wayne White. And it yields a thousand blossoms.
  61. The focus of this bizarre Finnish fairy tale - as black as anything the Brothers Grimm could have dreamed up - is a sinister old codger who chews off ears and whose demon minion kidnaps innocent children. Ho ho no!
  62. Nimble and self-assured as Mr. Daniels’s direction may be, he could not make you believe in “Precious” unless you were able to believe in Precious herself. You will.
  63. Mr. Hawke’s anguished performance gives Good Kill a hot emotional center.
  64. This film — the second from the Soskas, and shot in their hometown, Vancouver, British Columbia — combines gore, quiet dread, feminist conviction and a visual classicism, often using a red palette, with impressive, unbelabored dexterity.
  65. The wistful, overarching theme is the passing of time in the lives of young adults, aware of growing older, who seek to ground themselves in relationships and work, but relationships most of all. The movie reminds you with a series of gentle nudges that whether you want it to or not, the future happens.
  66. Thanks in large part to Miss Streep's bravura performance, it's a film that casts a powerful, uninterrupted spell.
  67. It's a fine, tough little movie, technically assured and brutally efficient, with a simple story that ventures into some profound existential territory without making a big fuss about it.
  68. A memoir, a history lesson, a combat picture, a piece of investigative journalism and an altogether amazing film.
  69. Ms. Breillat narrates the fairy tale three ways: in the period story, through the little girls and, finally, through the overall film. None are fully satisfying, but together they offer a sharp, knowing gloss on how our stories define who we were and who we become.
  70. Mr. Peck's gambit works, and the result is a great film and a great performance.
  71. A Summer’s Tale has room to focus on Rohmer’s brilliance at revealing human nature through articulate, multidimensional characters, perfectly cast, who in some ways seem to exist outside of time.
  72. It's not a perfect movie, and it does not aspire to be a great one. It's just wonderful.
  73. Ultimately his story draws more energy from class than from criminality: awash in sludgy browns and rotting greens - the colors of poverty and decomposition - this unpredictable oddity is a little bonkers but a lot original.
  74. The movie is full of juices that give it a healthy, pungent flow.
  75. Is still sleek, gripping entertainment with a raw-nerved, changeable camera style that helps to amplify its meaning.
  76. A blue-collar meditation on the meaning of community and the imperative of compassion, one that endures even as an unexpectedly prurient drama unfolds at its center.
  77. It is galvanizing because of Al Pacino's splendid performance in the title role and because of the tremendous intensity that Mr. Lumet brings to this sort of subject. (Review of Original Release)
  78. There is no doubt that Nim was exploited, and also no doubt that he was loved. Mr. Marsh, by allowing those closest to Nim plenty of room to explain themselves, examines the moral complexity of this story without didacticism. He allows the viewer, alternately appalled, touched and fascinated, to be snagged on some of its ethical thorns.
  79. There's more to everyone here than we're initially led to think. The Good Girl is like a neurotically charged post-millennial take on the trailer-park comedies that Jonathan Demme once claimed for himself.
  80. One of the strengths of Sunset Story is that it introduces us to a pair of extraordinary women who have kept their dignity and independence in a world that conspires against them having either. The story of Lucille and Irja may break your heart, but it will also make your day.
  81. Tchoupitoulas does explore the border between innocence and experience. It is alive with the risk and curiosity of youth, and unapologetic in insisting that the pursuit of fun can be a profound and transformative experience.
  82. While occasionally unpleasant, the film never crosses the line from bearably chilling to unbearably gruesome, keeping its characters credible and its events explicable.
  83. An exquisite film about the institutionalized oppression of an entire class of women and the way patriarchal imperatives inform religious belief.
  84. Brilliantly reimagines the glam-rock 70's as a brave new world of electrifying theatricality and sexual possibility, to the point where identifying precise figures in this neo-psychedelic landscape is almost beside the point.
  85. A political thriller that manages to be at once silly and clever, buoyantly satirical and sneakily disturbing, but he (Demme) has recovered some of the lightness and sureness of touch that had faded from his movies after "The Silence of the Lambs."
  86. You are left with an overall impression of a movie so full of life that it is almost bursting at the seams.
  87. This is not a fable of assimilation or alienation, but rather the keenly observed story of two people seeking guidance in painful and complicated circumstances.
  88. Switching gears radically, bravely defying conventional wisdom about what it takes to excite moviegoers, Lynch presents the flip side of "Blue Velvet" and turns it into a supremely improbable triumph.
  89. Melancholia is emphatically not what anyone would call a feel-good movie, and yet it nonetheless leaves behind a glow of aesthetic satisfaction.
  90. Instead of being contemptuous and sardonic, the portrait of inchoate adolescent longing in Paradise: Hope is poignant.
  91. The movie's steady attention to detail lends it a texture rarely found in films about domestic life. Its eye and ear for the particular and for what is left unsaid in tense conversation is unerring.
  92. Mr. Sauper has produced an extraordinary work of visual journalism, a richly illustrated report on a distant catastrophe that is also one of the central stories of our time.
  93. As a comedy of manners it has a dependably keen aim, with its most wicked barbs leavened by Mr. Mazursky's obvious fondness for his characters.
  94. Osama's unvarnished vulnerability, along with the director's combination of tough-mindedness and lyricism, prevents the movie from becoming at all sentimental; instead, it is beautiful, thoughtful and almost unbearably sad.
  95. Here the clinical, stopwatch precision of Mr. Tykwer's explorations of synchronicity and Kieslowski's warmer, metaphysically dreamy speculations about the role of chance and coincidence in human affairs synchronize into a film whose formal elegance is matched by its depth of feeling.
  96. There is nothing more enthralling than a good yarn, and Ten Canoes interweaves two versions of the same story, one filmed in black and white and set a thousand years ago, and an even older one, filmed in color and set in a mythic, prehistoric past.
  97. A nifty example of how to make something out of nothing. Nothing but imagination, and a game plan so enterprising it should elevate its creators to pinup status at film schools everywhere.
  98. The revelations keep coming in Sing Your Song and it's hard not to go googly eyed when, for a 1963 CBS special, you see Mr. Belafonte discussing the march on Washington with some fellow marchers, Mr. Poitier, Marlon Brando, James Baldwin, Charlton Heston and the film director Joseph L. Mankiewicz.
  99. A slender Chekhovian vignette about the joys and regrets of old age and the pleasures of sociability.

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