The New York Times' Scores

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For 20,269 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 9,377 out of 20269
  2. Mixed: 8,428 out of 20269
  3. Negative: 2,464 out of 20269
20269 movie reviews
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    • 96 Metascore
    • 50 Critic Score
    Man with a Movie Camera
    It is a disjointed array of scenes in which the producer, Dziga Vertoff, does not take into consideration the fact that the human eye fixes for a certain space of time that which holds the attention.
    • 96 Metascore
    • 60 Critic Score
    Rosemary's Baby
    Miss Farrow is quite marvelous, pale, suffering, almost constantly on-screen in a difficult role that requires her to be learning for almost two hours what the audience has guessed from the start...Everyone else is fine, but the movie—although it is pleasant—doesn't quite work on any of its dark or powerful terms.
  3. Don't Look Now
    A fragile soap bubble of a horror film. It has a shiny surface that reflects all sorts of colors and moods, but after watching it for a while, you realize you're looking not into it, but through it and out the other side. The bubble doesn't burst, it slowly collapses, and you may feel, as I did, that you've been had.Not only do you probably have better things to do, but so, I'm sure, do most of the people connected with the film.
  4. Double Indemnity
    Such folks as delight in murder stories for their academic elegance alone should find this one steadily diverting, despite its monotonous pace and length...But the very toughness of the picture is also the weakness of its core, and the academic nature of its plotting limits its general appeal.
  5. The Manchurian Candidate
    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.
    • 94 Metascore
    • 40 Critic Score
    Days of Heaven
    It is full of elegant and striking photography; and it is an intolerably artsy, artificial film.
    • 93 Metascore
    • 60 Critic Score
    Rio Bravo
    Despite its slickness, virility, occasional humor and, if it may be repeated, authentic professional approach, it is well-made but awfully familiar fare.
    • 93 Metascore
    • 50 Critic Score
    Duck Soup
    A production in which the bludgeon is employed more often than the gimlet. The result is that this production is, for the most part, extremely noisy without being nearly as mirthful as their other films.
  9. McCabe & Mrs. Miller
    I don't automatically object to contemporary allusions, but I prefer to find them myself, and McCabe and Mrs. Miller is so busy pointing them out to us that the effect is to undercut its narrative drive and the dignity of its fiction.
  10. Yojimbo
    As in most Westerns, the dramatic penetration is not deep, and the plot complications are many and hard to follow in Japanese. Kurosawa is here showing more virtuosity than strength. Yojimbo is a long way (in the wrong direction) from his brilliant Rashomon.
  11. Almayer's Folly
    Almayer's Folly is not friendly terrain to traverse; like some sinister version of Proust, it is a prolonged fever dream that ultimately yields madness.
  12. The Zone of Interest
    All that is clear from what’s onscreen is Glazer has made a hollow, self-aggrandizing art-film exercise set in Auschwitz during the Holocaust.
  13. Alphaville
    What it comes to is simply that the dazzle of Mr. Godard's cinematic style is not matched by the hackneyed idea of a robot society that is expounded in the script.
  14. Gavagai
    This is a high-minded and carefully composed film about, among other things, the inability of words in any language to satisfactorily communicate states of being. There are pleasures and intellectual provocations to be had here. But its attempted effects fall flat a little too often.
  15. The Godfather: Part II
    The only remarkable thing about Francis Ford Coppola's The Godfather, Part II is the insistent manner in which it recalls how much better his original film was...Even if Part II were a lot more cohesive, revealing, and exciting than it is, it probably would have run the risk of appearing to be the self-parody it now seems.
    • 90 Metascore
    • 60 Critic Score
    Red Beard
    Red Beard is well meant and well made, no question about it. But it unfolds familiarly and, at 185 minutes, practically forever.
  17. Paths of Glory
    Mr. Kubrick has made it look terrific. The execution scene is one of the most craftily directed and emotionally lacerating that we have ever seen. But there are two troubling flaws in this picture, one in the realm of technique and the other in the realm of significance, which determine its larger, lasting worth.
  18. The Hidden Fortress
    This is not to say that the action is not vivid, exciting and tense, or that Kurosawa's camera is any less graphic than it usually is. This is simply to say that The Hidden Fortress is essentially a superficial film and that Kurosawa, for all his talent, is as prone to pot-boiling as anyone else.
  19. After Hours
    After Hours is not, ultimately, a satisfying film, but it's often vigorously unsettling.
  20. Night of the Living Dead
    Night of the Living Dead is a grainy little movie acted by what appear to be nonprofessional actors, who are besieged in a farm house by some other nonprofessional actors who stagger around, stiff-legged, pretending to be flesh-eating ghouls.
    • 89 Metascore
    • 40 Critic Score
    The Mother and the Whore
    Watching The Mother and the Whore, you find that you're back in the movie-sludge of the nineteen-fifties, when a number of mediocre French films focused on sub-Sagan characters: numb, semi-paralyzed creatures who hardly had the calories to drag themselves through the day.
  22. The Seventh Continent (1989)
    The Seventh Continent is one of the most stylish films in this year's New Directors/New Films series. With its fragmented pattern of beautifully composed and repeated images from middle-class life, it rejuvenates a 1960's style that would seem to be exhausted by now. But the Austrian writer and director Michael Haneke pulls viewers through a good portion of the film on the sheer strength of his visual flair, avoiding the classic trap of how to create a film about boredom that is not boring.
  23. Wild Strawberries
    This one is so thoroughly mystifying that we wonder whether Mr. Bergman himself knew what he was trying to say.
  24. Strangers on a Train
    Mr. Hitchcock again is tossing a crazy murder story in the air and trying to con us into thinking that it will stand up without support.
  25. Winter Sleep
    Mr. Ceylan performs this particular operation with rigorous solemnity, technical virtuosity and precision tools — his lapidary visual style rises to the challenge of the natural environment — yet there’s something missing from the very start, namely the spark of breathed-in life.
  26. The Innocents
    Mr. Clayton and Miss Kerr have neglected to interpret the tale and character with sufficient incisiveness and candor to give us a first-rate horror or psychological film. But they've given us one that still has interest and sends some formidable chills down the spine.
  27. Poor Things
    It isn’t long into Poor Things that you start to feel as if you were being bullied into admiring a movie that’s so deeply self-satisfied there really isn’t room for the two of you.
  28. Wolfwalkers
    As much a joy as this movie . . . is to behold, its scenario is more than a little overbaked and overdrawn.
  29. My Neighbor Totoro
    When My Neighbor Totoro, which was written and directed by Hayao Miyazaki, is dispensing enchantment, it can be very charming. Too much of the film, however, is taken up with stiff, mechanical chitchat.
  30. Imitation of Life
    This modernized remake of Miss Hurst's frankly lachrymose tale is much the same as its soggy predecessor. It is the most shameless tear-jerker in a couple of years.
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