The New York Times' Scores

For 11,005 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 Beau Travail
Lowest review score: 0 America the Beautiful
Score distribution:
11005 movie reviews
  1. In its time, this film represented the arrival of something new, and even now it can feel like a bulletin from the future.
  2. Best Kept Secret is an exemplary documentary: It spotlights an important issue yet never seeks to squeeze the truth into an easily digestible narrative frame. Instead it expands its storytelling to the boundaries of messy, joyful and painful reality.
  3. One of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment. [16 Mar 1972]
    • The New York Times
  4. 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)
  5. In Boyhood, Mr. Linklater’s masterpiece, he both captures moments in time and relinquishes them as he moves from year to year. He isn’t fighting time but embracing it in all its glorious and agonizingly fleeting beauty.
  6. The movie is perfectly cast, from Trintignant and on down, including Pierre Clementi, who appears briefly as the wicked young man who makes a play for the young Marcello. The Conformist is flawed, perhaps, but those very flaws may make it Bertolucci's first commercially popular film. (Review of Original Release)
  7. Its pleasures are almost obscenely abundant.
  8. This film, which was never released in America and will now be making its way across the country in limited release, has been immaculately restored and features new subtitles. You can get lost in the blackness of its heart and its shadows. You might never come back.
  9. One of the most purely enjoyable films ever made.
  10. A swift and accessible entertainment, blunt in its power and exquisite in its effects.
  11. Hoop Dreams affirms the role of film as a medium for exploring social issues. And like any important documentary, this one raises crucial questions beyond what is on screen.
  12. 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.
  13. It’s a pitiless, violent story that in its telling becomes a haunting and haunted intellectual and aesthetic achievement.
  14. The genius of 12 Years a Slave is its insistence on banal evil, and on terror, that seeped into souls, bound bodies and reaped an enduring, terrible price.
  15. As he (Wong Kar-wai) floods the screen with beauty and fills the soundtrack with hypnotic rhythms, he forges a filmmaking style of incomparable eroticism.
  16. Ran
    Though big in physical scope and of a beauty that suggests a kind of drunken, barbaric lyricism, ''Ran'' has the terrible logic and clarity of a morality tale seen in tight close-up, of a myth that, while being utterly specific and particular in its time and place, remains ageless, infinitely adaptable.
    • 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
  17. The ultimate touch of ghoulish humor is when we see the bomb actually going off, dropped on some point in Russia, and a jazzy sound track comes in with a cheerful melodic rendition of "We'll Meet Again Some Sunny Day." Somehow, to me, it isn't funny. It is malefic and sick.
  18. A nearly flawless piece of popular art, as well as one of the most persuasive portraits of an artist ever committed to film. It provides the kind of deep, transporting pleasure, at once simple and sophisticated, that movies at their best have always promised.
  19. For all of Mr. Cuarón’s formal wizardry and pictorial grandeur, he is a humanist at heart.
  20. At once ardent and analytical, cerebral and swooning, Carol is a study in human magnetism, in the physics and optics of eros. With sparse dialogue and restrained drama, the film is a symphony of angles and glances, of colors and shadows.
  21. Showcasing the best and the worst in human nature, Orlando von Einsiedel’s devastating documentary “Virunga” wrenches a startlingly lucid narrative from a sickening web of bribery, corruption and violence.
  22. When Mr. Eisenberg makes Mark's face go blank, the character seems scarily emptied out: it's a subtly great, at times unsettling, performance.
  23. Ms. Bigelow's direction here is unexpectedly stunning, at once bold and intimate: she has a genius for infusing even large-scale action set pieces with the human element.
  24. It is a rigorously honest movie about the difficulties of being honest, a film that tries to be truthful about the slipperiness of truth.
  25. Before Midnight is a wonderful paradox: a movie passionately committed to the ideal of imperfection that is itself very close to perfect.
  26. [A] sensitive and devastating portrait of a long, happy marriage in sudden crisis.
  27. The film is so artfully contrived, the plot so interestingly started, the dialogue so racy and sharp, and John Frankenheimer's direction so exciting in the style of Orson Welles when he was making Citizen Kane and other pictures that the fascination of it is strong. So many fine cinematic touches and action details pop up that one keeps wishing the subject would develop into something more than it does.
  28. The towering, lost dreaminess at the heart of the film is an unmistakable obsession of this director.
  29. A triumphant, cleverly disorienting journey through a demimonde that springs entirely from Mr. Tarantino's ripe imagination, a landscape of danger, shock, hilarity, and vibrant local color. Nothing is predictable or familiar within this irresistably bizarre world. You don't merely enter a theater to see Pulp Fiction; you go down a rabbit hole. [23 Sept 1994]
    • The New York Times

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