The New York Times' Scores

For 10,489 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 Waiting Room
Lowest review score: 0 Don't Tell
Score distribution:
10,489 movie reviews
  1. This calm, hardheaded film never sacrifices its toughness for a swooning, misty-eyed moment of hope.
  2. This Lady Chatterley, winner of five César awards in France, feels bracingly fresh, vital and modern.
  3. The film was written, directed and somehow willed into unlikely existence by the extravagantly talented Carlos Reygadas, whose immersion in this exotic world feels so deep and true that it seems like an act of faith.
  4. Might be described as an epic landscape film, a sweetly comic coming-of-age story or a lyrical work of social realism. But the setting -- a windswept, sparely populated steppe in southern Kazakhstan -- gives the movie a mood that sometimes feels closer to that of science fiction.
  5. Crammed with color and imagination, every one of Jake Pollock's gorgeously photographed images feels timelessly suspended between innocence and awareness.
  6. Mr. Chappelle looks and sounds alternately ebullient and weary. It was directed by Michel Gondry, the madcap genius behind "Eternal Sunshine of the Spotless Mind," but in its tone and vibe feels like Mr. Chappelle's all the way.
  7. 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.
  8. Mr. Elba’s towering performance lends “Long Walk to Freedom” a Shakespearean breadth.
  9. Its account of patrician degradation will cause you to blink your eyes. Although it is only fiction, it wafts a thick and acrid air of smoldering truth.
  10. Sweet Sixteen shows that he's (Loach) as capable of anger as his protagonist and just as eager to draw attention to an unchanging problem: the blight of generational poverty.
  11. If you don't share the film's piercing vision of what really matters, someday you will.
  12. Encountered in an appropriately exploratory frame of mind, it can produce something close to bliss.
  13. Mississippi Grind itself may be a bit of a throwback to the lived-in, character-driven, landscape-besotted films of the 1970s, but it’s less a pastiche or a homage than the cinematic equivalent of a classic song, expertly covered.
  14. It is the kind of hearty, blunt-force drama with softened edges that leaves audiences applauding and teary-eyed.
  15. It looks to be clean and pure and without artifice, even though it is possibly as sophisticated as any commercial American movie ever made.
  16. This coldly compelling film doesn't try to explain Michael's behavior or analyze his disease. As if doing penance for Michael's sins, it eventually metes out unequivocal punishment, but it is small consolation.
  17. A potent, persuasive and quietly furious documentary.
  18. Everywhere the camera turns in this tense and volatile drama, it finds enough interest for a truckload of conventional Hollywood fare. Whatever its limitations, Cop Land has talent to burn.
  19. The film is a cat-and-mouse game in which each player thinks he’s the cat, making it both thrilling and disconcerting to watch. It is also a nature documentary about behavior at the very top of the imperial food chain and a detective story about the search for a mystery that is hidden in plain sight.
  20. At once admirable and deeply unsettling.
  21. It is baffling and beautiful, a flurry of musical and literary snippets arrayed in counterpoint to a series of brilliantly colored and hauntingly evocative pictures.
  22. Pugilists and philosophers of all kinds converge in Frederick Wiseman's mesmerizing documentary Boxing Gym.
  23. Focusing on the magazine and not its offshoots, the film is uproarious, not for what its many talking heads say but for its astonishing procession of brilliant, boundary-breaching illustrations and captions (augmented by some animation), many of which are as explosively funny today as they were when first published.
  24. Directing with an old-fashioned tenderness toward his unassuming star, Ken Ochiai conjures a swan song to a waning art form and those who practice it.
  25. In classic narrative fashion, Mr. Mundruczo works the setup like a burlesque fan dancer, teasing out the reveal bit by bit.
  26. The animation is a marvel - all the more so because the most demanding sequences seem almost casually tossed off. The world of Wallace and Gromit is one of the few genuinely eccentric places left in the movies, a place where lumpy, doughy characters achieve a peculiar dignity in spite of their grotesque features and the ridiculousness of their circumstances.
  27. Recoing's performance is a sensitive portrayal of a man in the throes of an excruciating spiritual crisis.
  28. The history presented in The Wind That Shakes the Barley hardly feels like a closed book or a museum display. It is as alive and as troubling as anything on the evening news, though far more thoughtful and beautiful.
  29. There are several genres nimbly folded into The Skin I Live In, which might also be described as an existential mystery, a melodramatic thriller, a medical horror film or just a polymorphous extravaganza. In other words, it's an Almodóvar movie with all the attendant gifts that implies: lapidary technique, calculated perversity, intelligent wit.
  30. He's (Kingsley) pure violence, a sociopath who radiates menace even while sitting perfectly still mouthing pleasantries.
  31. If Mr. Ghobadi's dominant theme is the devastation of the Kurds, his subdominant tone is one of strength, resistance and fertility.
  32. The brilliant, sinister French thriller Red Lights is a twisty road movie in which every sign points toward catastrophe.
  33. 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.
    • 50 Metascore
    • 90 Critic Score
    Labyrinth, a fabulous film about a young girl's journey into womanhood that uses futuristic technology to illuminate a mythic-style tale, is in many ways a remarkable achievement.
  34. The humor bubbling through Finding Nemo is so fresh, sure of itself and devoid of the cutesy, saccharine condescension that drips through so many family comedies that you have to wonder what it is about the Pixar technology that inspires the creators to be so endlessly inventive.
  35. An indelible, gripping documentary portrait.
  36. Tim isn't super anything (though he proves heroic), and what makes Cedar Rapids a low-wattage pleasure is its insistence that his ordinariness - with his decency and sense of wonder - is pretty extraordinary.
  37. A gorgeous, heartbreaking and utterly convincing work of art.
  38. A tiny, piercing study of dawning desperation that’s all the more remarkable for being virtually silent.
  39. 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.
  40. 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.
  41. Mr. Gast skillfully blends photographs, celebrity interviews with Norman Mailer and others, and colorful forays into the Zairian countryside, where Ali fostered black brotherhood and became a huge favorite, in a film that ''gazes well beyond the ring and seeks engagement with history''.
  42. Both sharply comical and piercingly sad. Mr. Baumbach surveys the members of the flawed, collapsing Berkman family with sympathy but without mercy, noting their individual and collective failures and imperfections with relentless precision.
  43. Like so many European pictures these days, Read My Lips seems destined to be remade in Hollywood, and it is unlikely to be improved by the addition of vainer actors, a simpler screenplay and flashier direction.
  44. Heist is a pleasure to watch, and the greatest pleasure is to watch Mr. Lindo and Mr. Hackman steal it.
  45. Both newcomers to Mr. To and longtime admirers should be prepared for a master class in directing.
  46. Methodically ticks off the forms of oppression visited on gays and lesbians in the days before the gay rights movement.
  47. Ultimately lacks the epic dimension of "Y Tu Mamá También," but its vision of that awkward age when sex threatens to overwhelm everything else is acute enough to make everyone who has been there squirm with recognition.
  48. 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."
  49. The English director Mike Leigh's best work in a decade.
  50. Restrained but never tentative, remote yet enormously affecting, the movie’s evocation of artistic compulsion is accomplished with confidence and verve.
  51. A big, beautiful, rambling immersion in a passion whose heat is fueled primarily by its impossibility.
  52. 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."
  53. Red White & Blue proves the director a bona fide storyteller with more tools in his arsenal than shock and awe.
  54. A hilariously brazen comedy whose heroine is an improbable hoot.
  55. Revealing its humanity slowly and a little tardily, Finders Keepers finally does justice to its dueling antiheroes.
  56. 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.
  57. [A] small, beautifully made film.
  58. 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
  59. Unfolding in simple yet wonderfully expressive hand-drawn frames, the film’s unsparingly observant plot depicts the slide into senility with empathy and imagination.
  60. It’s tantalizing, sublimely creepy stuff that keeps you guessing even after the credits roll.
  61. Supremely entertaining.
  62. 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.
  63. "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.
  64. 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.
  65. 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.
  66. An erotically charged, beautifully directed story of a woman preyed upon by different men and her own warring desires.
  67. A sharp, small-scale comedy of male misbehavior that turns out to be one of this dreary spring’s pleasant cinematic surprises.
  68. 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.
  69. A work so smartly written, so beautifully filmed, so perfectly acted, that it does the almost impossible trick of turning sentimentality into true emotion.
  70. 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.
  71. 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.
  72. It’s a brutally unsympathetic portrait of situational anxiety that withholds comfort from Paul and viewer alike, and Mr. Semans refuses to relent.
  73. 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.
  74. 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.
  75. 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.
  76. 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.
  77. Delicate and altogether satisfying romantic comedy.
  78. 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.
  79. Remarkable as much for its speculative restraint as for its philosophical reach.
  80. 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.
  81. ATown Called Panic is an adventure story as fast-paced and exciting as any currently in theaters.
  82. Remarkable concert documentary.
  83. 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.
  84. 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.
  85. As the director of the documentary Shine a Light, Martin Scorsese is a besotted rock ’n’ roll fan who wholeheartedly embraces its mythology.
  86. 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.
  87. You come away from his film overwhelmed, hopeful and, perhaps paradoxically, illuminated.
  88. 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.
  89. 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.
  90. The political implications of the film are manifest, as is the quiet courage of making it.
  91. 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.
  92. 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.
  93. 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.
  94. This poisonous, brazenly autobiographical comedy shows off the best of Mr. Allen's misanthropic humor.
  95. A richly detailed tale of passion, perfidy and revenge adapted from a typically tricky Ruth Rendell novel.
  96. Above all How I Ended This Summer is a merciless contemplation of the fragile human psyche under siege.
  97. Mr. Hong's casually brilliant feat of storytelling, akin to an ingeniously wrought suite of literary short fiction.
  98. 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.
  99. 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.

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