The New York Times' Scores

For 12,731 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Army of Crime
Lowest review score: 0 Cupid's Mistake
Score distribution:
12731 movie reviews
  1. Her
    At once a brilliant conceptual gag and a deeply sincere romance, Her is the unlikely yet completely plausible love story about a man, who sometimes resembles a machine, and an operating system, who very much suggests a living woman.
  2. One may legitimately debate the validity of Malick's vision, but not, I think, his immense talent. Badlands is a most important and exciting film.
  3. Steven Spielberg's soberly magnificent new war film, the second such pinnacle in a career of magical versatility, has been made in the same spirit of urgent communication. It is the ultimate devastating letter home.
  4. The filmmaker creates schematic, intuitive images that hauntingly crystallize the characters' situations.
  5. In these risk-averse times, it is a pleasure to see a film that fails by attempting too much. Frustrating and demanding as it may be, La Commune (Paris, 1871) is essential viewing for anyone interested in taking an exploratory step outside the Hollywood norms.
  6. My Perestroika gives you a privileged sense of learning the history of a place not from a book but from the people who lived it. Watching it is a little like attending a party in an unfamiliar city and discovering the place's secrets from the guests.
  7. Considering that he’s a stick figure, Bill, the main character in It’s Such a Beautiful Day, sure does have a complex internal life. And this animated film by Don Hertzfeldt does an amazing job of making you feel it, in all its sadness, terror and transcendence.
  8. The movie so upends the traditions of documentary and narrative filmmaking that “dramatizes” may be inaccurate — the filmmakers followed the real pilgrims for a full year, after all. But the movie is so well made and engaging that such distinctions will make little difference to the viewer.
  9. 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.
  10. How did Mr. Panahi do this? I'm at a bit of a loss to explain, to tell you the truth, since my job is to review movies, and this, obviously, is something different: a masterpiece in a form that does not yet exist.
  11. One of those films that create a mix of erudition, pageantry and delectable acting opportunities, much as "Shakespeare in Love."
    • 90 Metascore
    • 100 Critic Score
    A fantastic film.
  12. Irresistable, nimble and very funny.
  13. The script of Before Sunset is both rambling and self-conscious, and at times it has the self-important sound of clever writing. But though it is sometimes maddening, the movie's prodigious verbiage is also enthralling.
  14. Because it is so visually splendid and ethically serious, the movie raises hopes it cannot quite satisfy. It comes tantalizingly close to greatness, but seems content, in the end, to fight mediocrity to a draw.
  15. One of those rare films in which the moral stakes are as insistent and thought through as the aesthetic choices.
  16. 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.
  17. What Mr. Crowe has done is nonetheless remarkable. He has made a movie about sex, drugs and rock 'n' roll that you would be happy to take your mother to see.
  18. On first viewing, the captivating strangeness of the mood and the elegant threading of the plot are likely to hold your attention, but later you can go back to savor the lustrous colors, the fine-grained performances and the romantic mystery that holds the whole thing together.
  19. There's as much at stake in the hilarious, moody and cantankerous film adaptation of "Splendor" as there was in this summer's other movies of comic-book antiheroes like "The Hulk" and "The League of Extraordinary Gentlemen."
  20. Virtually nonstop exhilaration--a dramatic comedy not quite like any other, and one that sets new standards for Mr. Allen as well as for all American moviemakers. [7 February 1986]
    • The New York Times
  21. It is a crowded, complex crime story that is also a tale of sexual awakening and an understated exercise in kitchen-sink realism. In short - or rather at mesmerizing, necessary length - this film has everything, and is well worth a day of your life.
  22. Dropping us into a perfect storm of avarice, this cool and incisive snapshot of global capitalism at work is as remarkable for its access as for its refusal to judge.
  23. A virtuoso ensemble piece to rival the director's "Nashville" and "Short Cuts" in its masterly interweaving of multiple characters and subplots.
  24. The miracle of the movie is that, like Toni, it transcends blunt, reductive categorization partly because it’s free of political sloganeering, finger wagging and force-fed lessons. Any uplift that you may feel won’t come from having your ideas affirmed, but from something ineluctable – call it art.
  25. Its focus is purposely narrow. But that narrow focus, along with the lack of fully realized characters, and the absence of any historical or political context, raises the question of why, notwithstanding the usual (if shaky) commercial imperative, this particular movie was made.
  26. Even in the most chaotic fights and collisions, everything makes sense. This is not a matter of realism — come on, now — but of imaginative discipline. And Mr. Miller demonstrates that great action filmmaking is not only a matter of physics but of ethics as well. There is cause and effect; there are choices and consequences.
    • 90 Metascore
    • 90 Critic Score
    In appreciating that world, its pathos, its narcissism, its tensions, and its sufficient moments of glory, Downhill Racer succeeds with sometimes chilling efficiency. Within the limits imposed by the tangential nature of its insights, it is a very good movie.
  27. Warm, affecting and refreshingly shtickless, he (Carrey) occupies center stage here through sheer, beguiling force of personality.
  28. Mr. Jarecki finds a way to show that denial and hope often grow from the same vine. Lives are built around the way they're harvested -- and this talented director has a feel for the soil.

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