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 A Touch of Sin
Lowest review score: 0 Phantom
Score distribution:
9,006 movie reviews
  1. A rich, thought-provoking film.
  2. The actors in 24 City bring their own existential realities to their short, touching performances. In the end, the deep emotions they stir up -- the actress Lv Liping delivers a harrowing story about a lost child -- constitute another kind of monument to the workers of Factory 420.
  3. The images are as delightful, unexpected and playfully uninhibited as Ms. Varda, perhaps the only filmmaker who has both won the Golden Lion at the Venice Film Festival and strolled around an art exhibition while costumed as a potato (not at the same time).
  4. More than an indelible portrait of a sociopath with the soul of a zombie, Tony Manero is an extremely dark meditation on borrowed cultural identity.
  5. The movie’s unblinking observation of a friendship put to the test is amused, queasy making, kindhearted and unfailingly truthful.
  6. Soul Power, as aptly and succinctly titled a movie as I have ever seen, takes you to a place where the discipline that produces great popular art is indistinguishable from the ecstasy that art creates.
  7. It is Mr. Soderbergh’s insistence on seeing the A.D.M. scandal as a collective tragedy rather than as another white-collar crime that gives the movie force, resonance, feeling.
  8. 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.
  9. A sharply written, fast-talking, almost dementedly articulate satire on modern statecraft.
  10. 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.
  11. Like the director's cover story, the movie is a Trojan horse: an exceptionally well-made documentary that unfolds like a spy thriller, complete with bugged hotel rooms, clandestine derring-do and mysterious men in gray flannel suits.
  12. Lorna's Silence is engrossing and powerful, which may be just another way of saying it's a film by the Dardenne brothers. If it falls a bit short of the standards of their best work, that is only because it is not quite a masterpiece.
  13. Beeswax, at first glance a modest, ragged slice of contemporary life, turns out to be a remarkably subtle, even elegant movie.
  14. A taut, unnerving, forcefully unromantic fictional film.
  15. A show not simply preserved by Mr. Lee’s camera, but brought, somehow, to its fullest, strangest, most electrifying realization.
  16. In some ways his (Anderson) most fully realized and satisfying film. Once you adjust to its stop-and-start rhythms and its scruffy looks, you can appreciate its wit, its beauty and the sly gravity of its emotional undercurrents.
  17. The story is at once hilarious and horrific, its significance both self-evident and opaque. The same could be said of most of the Coen brothers’ movies, in which human existence and the attempt to find meaning in it are equally futile, if also sometimes a lot of fun. (For us, at least.)
  18. This strikingly humane film may function as a prequel to Animal Planet’s “Whale Wars” but is light years ahead in visual clarity and narrative ambition.
  19. An agonizingly familiar refrain, but one that the young Argentine director Alexis Dos Santos relates with such tenderness and with so much ethereal beauty that it feels like something fresh.
  20. Ahead of us lie many more documentaries similar in tone and spirit to this one. We can hope that at least a few of them are as intelligently and artfully made.
  21. Ms. Campion, with her restless camera movements and off-center close-ups, films history in the present tense, and her wild vitality makes this movie romantic in every possible sense of the word.
  22. Mr. Natali, whose earlier films include “Cube,” hasn’t reinvented the horror genre. But with Splice he has done the next best thing with an intelligent movie that, in between its small boos and an occasional hair-raising jolt, explores chewy issues like bioethics, abortion, corporate-sponsored science, commitment problems between lovers and even Freudian-worthy family dynamics.
  23. Mr. Malkovich is one of the few actors capable of conveying genuine intellectual depth.
  24. 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.
  25. A sun-kissed German film about a young couple in love and in doubt, might not be perfect, but so much is right and true in this lovely, delicate work that it comes breathtakingly close.
  26. Bronson invites you to admire its protagonist as a pure, muscular embodiment of anarchy. And perhaps you will, but you may also be glad that he’s still behind bars.
  27. No movie can convey the truth of war to those of us who have not lived through it, but The Messenger, precisely by acknowledging just how hard it is to live with that truth, manages to bring it at least partway home.
  28. 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.
  29. Broken Embraces leaves the viewer in a contradictory state, a mixture of devastation and euphoria, amusement and dismay that deserves its own clinical designation. Call it Almodóvaria, a syndrome from which some of us are more than happy to suffer.
  30. The movie is best understood not in banal docudrama terms but as an impressionistic portrait of a man who, stripped of power, is revealed as grotesquely human.
  31. Art is a fairy tale we choose to believe in, and this movie, a fiction confected about real people, is too good not to be true.
    • 70 Metascore
    • 90 Critic Score
    ATown Called Panic is an adventure story as fast-paced and exciting as any currently in theaters.
  32. The contradictions of adolescence have rarely been conveyed with such authenticity and force.
  33. One of the pleasures of Ajami, a tough and in many ways unsparing movie, is its deep immersion in the beats and melodies of everyday life in Jaffa and beyond.
  34. Not a horror movie but a witty, expertly constructed psychological thriller.
  35. Its scrupulous, humane sympathy gives this small, sorrowful film a glow of insight and a pulse of genuine, openhearted curiosity.
  36. Ms. Abt provides an unusually honest, compassionate and challenging view of contemporary youth, neither sugarcoated nor prurient.
  37. It is only fitting that a movie concerned with the power and beauty of drawing -- the almost sacred magic of color and line -- should be so gorgeously and intricately drawn.
  38. A slender Chekhovian vignette about the joys and regrets of old age and the pleasures of sociability.
  39. It is the funniest and saddest movie Mr. Baumbach has made so far, and also the riskiest.
    • 83 Metascore
    • 90 Critic Score
    As concert documentaries go, both “Neil Young: Heart of Gold” (2006) and the new Neil Young Trunk Show are luxury goods.
  40. A sustained, alternatingly exhausting and aesthetically exhilarating howl of a film.
  41. 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.
  42. Epic in scope but intimate in theme, The Warlordsheaves with spectacular battles and the relentless sway of self-interest over conscience.
    • 78 Metascore
    • 90 Critic Score
    Has all the hallmarks of a career summation -- and early on it seems fated to collapse beneath the weight of its ambitions. Instead, it soars, thanks to Mr. Gerima’s bracingly direct storytelling.
  43. 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.
  44. Educates without lecturing and engages without effort.
  45. Exit could be a new subgenre: the prankumentary. Audiences, however, would be advised simply to enjoy the film on its face -- even if that face is a carefully contrived mask.
  46. The film is careful to avoid explicit political statement, but its reticence makes its critique of the Iranian regime all the more devastating.
  47. 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.
  48. A sharp, small-scale comedy of male misbehavior that turns out to be one of this dreary spring’s pleasant cinematic surprises.
  49. 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.
  50. 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.
  51. This small, nearly perfect film is a reminder that personal upheavals are as consequential in people's lives as shattering world events.
  52. This convulsively funny movie takes an up-close and sometimes queasy-personal approach to its motormouth subject, who, when she's not making you howl with laughter (or freeze up in horror), brandishes her deeply held hurts, fears, prejudices, poor judgment and bad taste as if they were stigmata.
  53. The film's realism is a point of entry rather than the whole point of the exercise. Its setting is finally subordinate to the main character, as memorable and vivid a heroine as you are likely to see on screen this season.
  54. Often soaringly beautiful melodrama.
  55. Needlessly complicated, life already has more than enough petty dramas. Let It Rain may not be funny in a ha-ha sense, but it gave me an amused open-mouthed appreciation of life’s absurdities, including unanticipated nuisances like bad weather.
  56. Methodically ticks off the forms of oppression visited on gays and lesbians in the days before the gay rights movement.
  57. Remarkable patchwork of unremarkable lives.
  58. As the war in Afghanistan returns to the front pages and the national debate, we owe the men in Restrepo, at the very least, 90 minutes or so of our attention. If nothing else, this film, in showing how much they care about one another, demands the same of us.
  59. Like its would-be lovers, Wild Grass chases itself in circles as it scrambles genres, examining seeing, thinking, remembering and imagining with a zany awareness. In Georges's words: "After the cinema nothing surprises you. Everything is possible."
  60. Isn't just a pleasurable rethink of your geek uncle's favorite science-fiction series. It's also a testament to television's power as mythmaker, as a source for some of the fundamental stories we tell about ourselves, who we are and where we came from.
  61. One of the rare documentaries you leave wishing it was a little bit longer.
  62. At under 90 minutes, Around a Small Mountain is, by Mr. Rivette’s standards, a small vignette. It could have been —--and perhaps was -- part of something longer and more complex, but it stands as perfectly on its own as Pic St.-Loup, marvelous to contemplate and changing slightly every time you see it.
  63. It is all perfectly dreadful and at times appallingly funny. Mr. Solondz winds thin tendrils of narrative around the dinner-table conversations, and allows everyone a chance to be earnestly foolish, unguardedly selfish and also, almost by accident, cruelly honest.
  64. Strongly acted and beautifully photographed (by Virgil Mirano), Spoken Word is a quietly resonant family drama about the tug of old habits and the difficulties of escaping the past.
  65. If you compared the two main characters with the cowboys in "Brokeback Mountain," they would be ignoble versions of Ennis del Mar (Jimmy) and Jack Twist (Lars). Like their American counterparts, they barely know what to do with their passion.
  66. Sweet, generous and tonally sure, Patrik, Age 1.5 has a nostalgic feel, and not just because of a soundtrack skewed toward last-millennium tunes and a hyperreal suburban setting lifted straight from "Pleasantville."
  67. 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.
  68. Remarkable as much for its speculative restraint as for its philosophical reach.
  69. Its insistent zaniness makes Soul Kitchen very different in spirit from Mr. Akin's two previous films, "Head-On" and "The Edge of Heaven," which established him as a major European filmmaker. Seriously silly, it evokes the same high-spirited, pan-European multiculturalism in which people of all ages and backgrounds blithely traverse national borders as they aggressively pursue their destinies.
  70. This devastating film persuasively portrays them (Tillman family) as finer, more morally sturdy people than the cynical chain of command that lied to them and used their son as a propaganda tool.
  71. It makes for continuously riveting, visceral entertainment that evokes a Gallic "Scarface" without the drugs.
  72. The story is deepened with a distinctively European political subtext as the increasingly grandiose Mesrine engages in a running dialogue with various characters about the differences between gangsters and revolutionaries.
  73. These are vivid, flawed, even introspective characters. And they're classic American strivers. With rodeo, but not just that, they hope to go beyond where they have been.
  74. When Mr. Eisenberg makes Mark's face go blank, the character seems scarily emptied out: it's a subtly great, at times unsettling, performance.
  75. With beauty, mild and sharp jolts, and mesmerizing camerawork, he (Gaspar Noe) tries to open the doors of perception.
  76. By showing how fiercely dedicated idealists are making a difference, it is a call to arms.
  77. The subtext of the relationship is not sexuality, as it is in "Twilight" or "True Blood," but rather the loneliness of children and their often unrecognized reservoirs of rage.
  78. Four years in the making, Marwencol emerges as a number of things: an absorbing portrait of an outsider artist; a fascinating journey from near-death to active life; a meditation on the brain's ability to forge new pathways when old ones have been destroyed.
  79. One of the reasons that Hereafter works as well as it does - it has the power to haunt the skeptical, to mystify the credulous and to fascinate everyone in between.
  80. Like the convictions of some born into religious families, his (Carlos) Marxism seems more a matter of habit than faith. What seems to turn him on is power, which, the movie suggests, he nurtured alongside his luxe tastes.
  81. Pugilists and philosophers of all kinds converge in Frederick Wiseman's mesmerizing documentary Boxing Gym.
  82. "We are not pickers of garbage; we are pickers of recyclable materials," Tião, an impoverished Brazilian catadore, or trash picker, declares to a talk-show host in Lucy Walker's inspiring documentary Waste Land.
  83. You are not Doug Block, of course. Except to the extent - measured by the depth of your absorption in this remarkable film - that you are.
  84. A Jim Carrey movie all the way: a good one, I might add. With his manic glare, ferociously eager smile, hyperkinetic body language and talent for instant self-transformation, Mr. Carrey has rarely been more charismatic on the screen.
  85. 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!
  86. With solid bodywork, clever feints and tremendous heart, it scores at least a TKO, by which I mean both that it falls just short of overpowering greatness - I can't quite exclaim, "It's a knockout!" - and that the most impressive thing about it is technique.
  87. The movie is realistic enough to make all corporate climbers, but especially men over 50, quake in their boots. If you are what you do, what are you if you're no longer doing it?
  88. Both newcomers to Mr. To and longtime admirers should be prepared for a master class in directing.
  89. Things worked out between Joe and Valerie, and for their real-life models, who are now the subjects of a terrifically entertaining movie. But that does not mean that justice was done, or that truth prevailed.
  90. As it turns out, Mr. Perry, while busily establishing his economic independence, has been finding his voice as a filmmaker. And here, working with fine performers like Ms. Elise, Anika Noni Rose, Phylicia Rashad and Kerry Washington, he sings the song the way he likes it - with force, feeling and tremendous sincerity.
  91. A shockingly hilarious, stiletto-sharp satire directed by Chris Morris and written by a squad of British wits.
  92. Like the best westerns, Red Hill is a stripped-down morality tale; like the best horror movies, its true monsters remain cloaked until the final reel.
  93. The filmmaking is rough and rather clumsy, but by ceding the floor to his open, highly articulate sisters, Mr. Colvard has created a fascinatingly raw study of ferociously wielded male power.
  94. This sense of intimacy makes And Everything Is Going Fine both vibrant - what amazing company this man was! - and terribly sad.
  95. Visually distinctive and aurally delightful, "Guy and Madeline on a Park Bench" has style to burn. A soulful black-and-white commentary on love, art and their competing demands, this Boston-based musical from Damien Chazelle floats on a wave of spontaneity and charm.
  96. Beautiful in its minimalism, Nénette is no antizoo rant but a melancholy meditation on captivity.
  97. 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.

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