The New York Times' Scores

For 10,137 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 Last Waltz (re-release)
Lowest review score: 0 Art History
Score distribution:
10,137 movie reviews
  1. 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."
  2. The English director Mike Leigh's best work in a decade.
  3. Restrained but never tentative, remote yet enormously affecting, the movie’s evocation of artistic compulsion is accomplished with confidence and verve.
  4. A big, beautiful, rambling immersion in a passion whose heat is fueled primarily by its impossibility.
  5. Something not seen in movie theaters for a long time: an intelligent, modern screwball comedy, a minor classic on the order of competent, fast-talking curve balls about deception and greed like Mitchell Leisen's "Easy Living" and Billy Wilder's "Major and the Minor."
  6. Red White & Blue proves the director a bona fide storyteller with more tools in his arsenal than shock and awe.
  7. A hilariously brazen comedy whose heroine is an improbable hoot.
  8. Thrillingly smart, but not, like so many other pictures in this vein, merely an elaborate excuse for its own cleverness. As you puzzle over the intricacies of its shape, which reveal themselves only in retrospect, you may also find yourself surprised by the depth of its insights.
  9. [A] small, beautifully made film.
  10. There are times when The Shawshank Redemption comes dangerously close to sounding one of those "triumph of the spirit" notes. But most of it is eloquently restrained. [23 Sept 1994, p.C3]
    • The New York Times
  11. Unfolding in simple yet wonderfully expressive hand-drawn frames, the film’s unsparingly observant plot depicts the slide into senility with empathy and imagination.
  12. Supremely entertaining.
  13. 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.
  14. "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.
  15. Humorously and fondly, with an entertaining supply of what he has called "prosaic license," Stillman again displays a pitch-perfect ear for both the cattiness and the camaraderie that bind his characters into collective friendship.
  16. Like many of Mr. Herzog's movies, fiction and nonfiction, Encounters at the End of the World itself has the quality of a dream: it's at once vivid and vague, easy to grasp and somehow beyond reach.
  17. An erotically charged, beautifully directed story of a woman preyed upon by different men and her own warring desires.
  18. A sharp, small-scale comedy of male misbehavior that turns out to be one of this dreary spring’s pleasant cinematic surprises.
  19. Smartly incorporating Sasa Zivkovic’s sweet and simple animation, as well as an exhilarating, punk-infused soundtrack, Mr. Persiel extends the film’s appeal beyond hard-core skaters.
  20. A work so smartly written, so beautifully filmed, so perfectly acted, that it does the almost impossible trick of turning sentimentality into true emotion.
  21. A slow-motion punch to the groin. As such, it's fitting that one of our first sights is a large "NO" stenciled in the parking lot of a fast-food joint in suburban Ohio: as the film progresses, the word becomes a silent mantra for viewers who can't quite believe what they're seeing.
  22. 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.
  23. It’s a brutally unsympathetic portrait of situational anxiety that withholds comfort from Paul and viewer alike, and Mr. Semans refuses to relent.
  24. Life Is Sweet, a title that should not be taken as irony, demands that the audience accept its meandering manner without expectations of the big dramatic event or the boffo laugh. It is very funny, but without splitting the sides.
  25. The most horrifying thing in Kiyoshi Kurosawa's fiercely original, thrillingly creepy Pulse (released as "Kairo," or "Circuit," in Japan) is the way the ghosts move.
  26. Along the way, Paradise Now sustains a mood of breathless suspense. Politics aside, the movie is a superior thriller whose shrewdly inserted plot twists and emotional wrinkles are calculated to put your heart in your throat and keep it there.
  27. Gives you the steady pulse of life in a beautiful city viewed through the eyes of a character who, in spite of tragic loss and increasing decrepitude, knows in his bones that he is one of the luckiest men alive.
  28. Delicate and altogether satisfying romantic comedy.
  29. Flight is freakishly real; it's one of those big-screen nightmares that will inspire fear-of-flying moviegoers to run home and Google car rental deals and Greyhound schedules.
  30. Remarkable as much for its speculative restraint as for its philosophical reach.
  31. The film couldn't be more heartening - yes, individual actions do make a difference. But it's bittersweet as well. You can't help wondering about all the children who don't get tapped on the shoulder by the hand of fate.
  32. ATown Called Panic is an adventure story as fast-paced and exciting as any currently in theaters.
  33. Remarkable concert documentary.
  34. In the process of drawing audiences into the twists and turns of a knotty detective tale, Mr. Franklin and his cinematographer, Tak Fujimoto, open up an enticing and languorous lost world.
  35. Kirk Jones, who wrote and directed this blithe comedy, has been a prize-winning director of television commercials. And he has the knack of finding rubbery, expressive faces and letting each villager's quirks emerge on cue.
  36. As the director of the documentary Shine a Light, Martin Scorsese is a besotted rock ’n’ roll fan who wholeheartedly embraces its mythology.
  37. 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.
  38. You come away from his film overwhelmed, hopeful and, perhaps paradoxically, illuminated.
  39. Slicing through the fat of policy debates to the visceral rush of critical care, the narrative combines existential worries... and blood-and-guts immediacy with a seamlessness that made me want to high-five the editor, Joshua Altman.
  40. Propelled by a captivating, wrenching performance by Karine Vanasse as Hanna, a 13-year-old girl adrift in a sea of powerful emotions in Montreal in 1963.
  41. The political implications of the film are manifest, as is the quiet courage of making it.
  42. The best concert films achieve a marriage of sound and image that feels effortlessly harmonious, and in that regard Inni, a musical portrait of the Icelandic band Sigur Ros, leaves most of its genre in the dust.
  43. In his memoir Mr. Bauby performed a heroic feat of alchemy, turning horror into wisdom, and Mr. Schnabel, following his example and paying tribute to his accomplishment, has turned pity into joy.
  44. A profound and provocative exploration of cultural inheritance, communications technology and the roots and morality of terrorism, the Canadian filmmaker Atom Egoyan nimbly wades into an ideological minefield without detonating an explosion.
  45. This poisonous, brazenly autobiographical comedy shows off the best of Mr. Allen's misanthropic humor.
  46. A richly detailed tale of passion, perfidy and revenge adapted from a typically tricky Ruth Rendell novel.
  47. Above all How I Ended This Summer is a merciless contemplation of the fragile human psyche under siege.
  48. Mr. Hong's casually brilliant feat of storytelling, akin to an ingeniously wrought suite of literary short fiction.
  49. The movie is a curiosity cabinet of visual pleasures but so breezy and lightly funny that you may not realize at first how good it is.
  50. Together, however, they add up to a film that may be the closest movies have come to the cinematic equivalent of a collection of Chekhov short stories.
  51. With warmth, wit and none of the usual overlay of nostalgia, King of the Hill presents the scary yet liberating precariousness of life on the edge.
  52. Delicate and autobiographical (Wang Han was the director’s name when he was a child, and the story is constructed from his boyhood memories), 11 Flowers clings steadfastly to its youthful point of view.
  53. Educates without lecturing and engages without effort.
  54. A visual adventure worthy of that much degraded adjective, awesome.
  55. Maybe, beneath the stylistic flourishes and bursts of operatic emotion, it is a simple story of psychological struggle, about a man in midlife reckoning with the damage of his past. But to settle on that interpretation is to deny or discount the splendid strangeness of Mr. Sorrentino's vision - and also, therefore, of the curious corners of reality he discovers along the way.
  56. Though it dedicates itself to avoiding directorial egotism, in accordance with strict rules of the Danish filmmakers' collective known as Dogma 95, Thomas Vinterberg's Celebration is still a virtuoso feat.
  57. Peculiar and sneakily brilliant.
  58. One of the rare documentaries you leave wishing it was a little bit longer.
  59. Gathers you up on its white horse and gallops off into the sunset. Along the way, it serves a continuing banquet of high-end comfort food perfectly cooked and seasoned to Anglophilic tastes.
  60. The Coens have used the noir idiom to fashion a haunting, beautifully made movie that refers to nothing outside itself and that disperses like a vapor as soon as it's over.
  61. Audacious as it is, the movie is also a little scary.
  62. A pleasurably sly and involving puzzler - a mystery about mysteries within mysteries.
  63. Into the Woods, the splendid Disney screen adaptation of the Stephen Sondheim-James Lapine musical, infuses new vitality into the tired marketing concept of entertainment for “children of all ages.” That usually translates to mean only children and their doting parents. But with Into the Woods, you grow up with the characters, young and old, in a lifelong process of self-discovery.
  64. Gaudily vibrant, at times morbidly funny.
  65. As Lucy Honeychurch, Miss Bonham Carter gives a remarkably complex performance of a young woman who is simultaneously reasonable and romantic, generous and selfish, and timid right up to the point where she takes a heedless plunge into the unknown.
  66. A stirring documentary directed with narrative depth and unguarded heart.
  67. Filmmaker Kevin Rafferty makes the case for remembrance and for the art of the story in his preposterously entertaining documentary Harvard Beats Yale 29-29, preposterous at least for those of us who routinely shun that pagan sacrament.
  68. [Mr. Garland] plays with visual contrasts — Mr. Isaac’s compact, muscled body and Mr. Gleeson’s long, drooping one, picture windows that look out onto an expansively lush landscape and windowless rooms that register as upmarket prison cells — that dovetail with the narrative’s multiple, amusingly deployed dualities: confinement and liberation, agency and submission, mind and body.
  69. Remarkable patchwork of unremarkable lives.
  70. This movie is graceful, subtle and sure-footed, much as its English title implies.
  71. The masterstroke of this small, heartfelt directorial debut (by Peter Care, from a screenplay by Jeff Stockwell) is its integration of animated sequences (by Todd McFarlane) in which action-adventure caricatures of the comic book characters parallel or comment on events in the boys' lives.
  72. Thorough, understated and altogether enthralling documentary.
  73. It's potent stuff, delving into pornography, incest, murder and mutilation in the company of alienated men and unhappy, sometimes cruel women.
  74. What emerges is a poignant commentary on the uneasy commingling of love and fame.
  75. 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.
  76. Ms. Zellweger accomplishes the small miracle of making Bridget both entirely endearing and utterly real.
  77. It is a truism that academic arguments are so passionate because the stakes are so small. Footnote, a wonderful new film from the American-born Israeli director Joseph Cedar, at once affirms this conventional wisdom and calls it into question.
  78. “Dawn” is more than a bunch of occasionally thrilling action sequences, emotional gut punches and throwaway jokes arranged in predictable sequence. It is technically impressive and viscerally exciting, for sure, but it also gives you a lot to think, and even to care, about.
  79. One of the great movies of the 1960's, but it has been, in this country at least, maddeningly elusive. In spite of its bitter edge, Billy Liar is pure Ambrosia.
  80. Rarely has a film with so much blood on its hands seemed so insistently alive.
  81. Fascinating. Anyone interested in the challenges and techniques of acting -- which is really to say, anyone interested in human behavior -- should turn off E! and head down to Mr. Almereyda's film.
  82. This is high-speed action realism carried off with the dexterity of a magician pulling a hundred rabbits out of a hat in one graceful gesture. The crowning flourish is an extended car chase through the streets and tunnels of Moscow that ranks as one of the three or four most exciting demolition derbies ever filmed.
  83. If the narrow biographical focus of “The Iceman” prevents it from being a great crime movie, on its own more modest terms it is an indelible film that clinches Mr. Shannon’s status as a major screen actor.
  84. Wavering between light comedy and drama with wonderfully natural performances, 17 Girls doesn't judge anyone's behavior.
  85. Mr. Parker has brilliantly updated his source and grasped its essence, composing a sorrowful and hilarious tone poem about alienated labor, or an absurdist workplace sitcom, as if a team of French surrealists had been put in charge of "The Drew Carey Show."
  86. How was this careless, self-destructive human rhythm machine able to outlast almost all her peers? Maybe the vitality of the jazz she made kept her alive. She was one tough lady.
  87. It tells a finely nuanced tale of right, wrong and the gray area in between.
  88. One of the juiciest male characters to pop up in an independent film this year.
  89. Like its hero, who is brave without a trace of bravado, Overlord is unusually quiet and thoughtful. The scale and ambition of combat movies has usually been epic, but this one is disarmingly lyrical and subjective.
    • 96 Metascore
    • 90 Critic Score
    The French Connection is a film of almost incredible suspense, and it includes, among a great many chilling delights, the most brilliantly executed chase sequence I have ever seen. [8 October 1971]
    • The New York Times
  90. Prisoners is the kind of movie that can quiet a room full of casual thrill-seekers. It absorbs and controls your attention with such assurance that you hold your breath for fear of distracting the people on screen, exhaling in relief or amazement at each new revelation
  91. Harboring few ambitions beyond knock-your-socks-off action sequences, this crafty revenge thriller delivers with so much style — and even some wit — that the lack of substance takes longer than it should to become problematic.
  92. A brilliant satire of emotional politics.
  93. The movie, like its subject, refuses to stir up unnecessary melodrama. There are many small conflicts and psychological undercurrents, but the closest thing to a narrative theme is the effect Andrée has on the Renoir household.
  94. In small but significant ways, Queen to Play defies expectations. It dangles the possibility of an affair between Hélène and Kröger in games that the film likens to courtship rituals in a classic screwball comedy.
  95. The story is full of emotion and danger, heroism and treachery, but it is told in a mood of rueful retrospect rather than simmering partisan rage.
  96. 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.
  97. Recording every success and setback, the wrenching documentary Crime After Crime favors the personal over the political, creating a no-frills portrait of a stoic and remarkably unembittered woman.
  98. Its low-key affect and decidedly human scale endow Once with an easy, lovable charm that a flashier production could never have achieved. The formula is simple: two people, a few instruments, 88 minutes and not a single false note.
  99. It is to Mr. Gibney’s great credit that while he pays due attention to the outsize, cartoonish celebrity persona Thompson fell back on when his literary powers began to wane, this film concentrates on the bold, innovative journalism that secured Thompson’s reputation and assures his immortality.

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