The New York Times' Scores

For 9,838 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 Bliss
Lowest review score: 0 Hush
Score distribution:
9,838 movie reviews
  1. Shakespeare meets Sherlock, and makes for pure enchantment in the inspired conjecture behind Shakespeare in Love.
  2. The audacity of The Missing Picture — a brilliant documentary about a child who held on to life in Cambodia’s killing fields — is equaled only by its soulfulness.
  3. Part of what's bracing about Gomorrah, and makes it feel different from so many American crime movies, is both its deadly serious take on violence and its global understanding of how far and wide the mob's tentacles reach, from high fashion to the very dirt.
  4. Full of brilliantly executed coups de théâtre, showing the director's natural flair for spectacle.
  5. There is hardly a shortage of movies about rock ’n’ roll, but there are few as perfect — which is to say as ragged, as silly, as touching or as true — as We Are the Best!.
  6. Merchant, Ivory and Jhabvala triumph again with their entertaining, richly textured film. [13 March 1992]
    • The New York Times
  7. 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.
  8. Post-Soviet Russia in Andrei Zvyagintsev's somber, gripping film Elena is a moral vacuum where money rules, the haves are contemptuous of the have-nots, and class resentment simmers. The movie, which shuttles between the center of Moscow and its outskirts, is grim enough to suggest that even if you were rich, you wouldn't want to live there.
  9. The ancient Greeks believed that character should be revealed through action. I can’t think of another film that has upheld this notion so thoroughly and thrillingly. There is certainly no other actor who can command our attention — our empathy, our loyalty, our love — with such efficiency.
  10. 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)
  11. Sustains a documentary authenticity that is as astonishing as it is offhand. Even when you're on the edge of your seat, it never sacrifices a calm, clear-sighted humanity for the sake of melodrama or cheap moralizing.
  12. It represents something stranger and, to those of us with only a secondhand or thirdhand knowledge of that history, more disturbing: a survivor's conviction that there were aspects of the experience itself that can only be described as beautiful.
  13. If there's one movie that ought to be studied by military and civilian leaders around the world at this treacherous historical moment, it is The Fog of War, Errol Morris's sober, beautifully edited documentary portrait of the former United States defense secretary Robert S. McNamara.
  14. Encountered in an appropriately exploratory frame of mind, it can produce something close to bliss.
  15. Mr. Ledger magically and mysteriously disappears beneath the skin of his lean, sinewy character. It is a great screen performance, as good as the best of Marlon Brando and Sean Penn.
  16. A quietly rapturous film about love and redemption.
  17. Childhood ends, this time forever, with tears and howls, swirls of smoke, the shock of mortality and bittersweet smiles in Harry Potter and the Deathly Hallows: Part 2, the grave, deeply satisfying final movie in the series.
  18. Mr. German was just as stubborn in sticking to his personal vision (and revisions) as he was innovative in his storytelling, and he’s left behind a final opus that is hard to shake.
  19. This brilliant, viciously amusing takedown of bourgeois complacency, gender stereotypes and assumptions and the illusion of security rubs your face in human frailty as relentlessly as any Michael Haneke movie.
  20. Particle Fever is a fascinating movie about science, and an exciting, revealing and sometimes poignant movie about scientists.
  21. Certainly one of the strangest and most interesting movies of the year, and I suspect that in years to come a number of other strange and interesting movies will show traces of its influence.
    • 87 Metascore
    • 100 Critic Score
    Life Itself is a work of deftness and delicacy, by turns a film about illness and death, about writing, about cinema and, finally, and very movingly a film about love.
  22. Mr. Herzog is also no ordinary filmmaker. It is the rare documentary like Grizzly Man, which has beauty and passion often lacking in any type of film, that makes you want to grab its maker and head off to the nearest bar to discuss man's domination of nature and how Disney's cute critters reflect our profound alienation from the natural order.
  23. It weaves life and art into a rich tapestry of love, loss and compassion.
  24. A stunning feat of literary adaptation as well as a purely cinematic triumph.
  25. 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.
  26. It's hard to imagine anyone but Mr. Pitt in the role. He's relaxed yet edgy and sometimes unsettling.
  27. With marvelous discipline, Mr. Shapiro crams a wealth of material into a tight 77 minutes, smoothly communicating the group effort required to achieve the perfect shot.
  28. The brilliance of The Babadook, beyond Ms. Kent’s skillful deployment of the tried-and-true visual and aural techniques of movie horror, lies in its interlocking ambiguities.
  29. A stirring, unexpectedly moving story of love and blood.

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