The New York Times' Scores

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For 20,271 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 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. The Treasure of the Sierra Madre
    Mr. Huston has shaped a searching drama of the collision of civilization's vicious greeds with the instinct for self-preservation in an environment where all the barriers are down. And, by charting the moods of his prospectors after they have hit a vein of gold, he has done a superb illumination of basic characteristics in men. One might almost reckon that he has filmed an intentional comment here upon the irony of avarice in individuals and in nations today...But don't let this note of intelligence distract your attention from the fact that Mr. Huston is putting it over in a most vivid and exciting action display.
  2. Pan's Labyrinth
    A swift and accessible entertainment, blunt in its power and exquisite in its effects.
    • 98 Metascore
    • 80 Critic Score
    Some Like It Hot
    Let's face it. Two hours is too long a time to harp on one joke. But Billy Wilder, who produced, directed and collaborated with I. A. L. Diamond on this breeziest of scripts, proves once again that he is as professional as anyone in Hollywood. Mr. Wilder, abetted by such equally proficient operatives as Marilyn Monroe, Jack Lemmon and Tony Curtis, surprisingly has developed a completely unbelievable plot into a broad farce in which authentically comic action vies with snappy and sophisticated dialogue.
    • 98 Metascore
    • 90 Critic Score
    North by Northwest
    The lines and the expert manipulation of the principals are tributes to the outstanding talents of Messrs. Lehman and Hitchcock.
  5. Hoop Dreams
    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.
  6. Rashomon
    Much of the power of the picture—and it unquestionably has hypnotic power—derives from the brilliance with which the camera of Director Akira Kurosawa has been used. The photography is excellent and the flow of images is expressive beyond words.
    • 98 Metascore
    • 90 Critic Score
    The Passion of Joan of Arc
    FRANCE can well be proud of that great picture, The Passion of Jeanne d'Arc, for while Carl Dreyer, a Dane, is responsible for the conspicuously fine and imaginative use of the camera, it is the gifted performance of Maria Falconetti as the Maid of Orleans that rises above everything in this artistic achievement.
  8. All About Eve
    Mr. Kaufman and Mr. Hart might even find themselves outclassed by the dazzling and devastating mockery that is brilliantly packed into this film.
  9. Metropolis (re-release)
    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.
  10. Jules and Jim
    To put it quickly and crisply, it is charming, exciting and sad.
  11. My Left Foot
    An intelligent, beautifully acted adaptation.
  12. The Night of the Hunter
    There is a strong trace of Freudian aberration, fanaticism and iniquity. Credit Mr. Laughton with a clever and exceptionally effective job of catching the ugliness and terror of certain ignorant, small-town types.
  13. 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.
  14. Gone with the Wind
    Is it the greatest motion picture ever made? Probably not, although it is the greatest motion mural we have seen and the most ambitious film-making venture in Hollywood's spectacular history.
  15. The Third Man
    Mr. Reed has brilliantly packaged the whole bad of his cinematic tricks, his whole range of inventive genius for making the camera expound. His eminent gifts for compressing a wealth of suggestion in single shots, for building up agonized tension and popping surprises are fully exercised. His devilishly mischievous humor also runs lightly through the film, touching the darker depressions with little glints of the gay or macabre. [3 Feb 1950, p.29]
  16. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    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.
  17. Quo Vadis, Aida?
    The rigorous honesty of Quo Vadis, Aida? is harrowing, partly because it subverts many of the expectations that quietly attach themselves to movies about historical trauma. We often watch them not to be confronted with the cruelty of history, but to be comforted with redemptive tales of resistance, resilience and heroism.
  18. Psycho
    The consequence in his denouement falls quite flat for us. But the acting is fair. Mr. Perkins and Miss Leigh perform with verve, and Vera Miles, John Gavin, and Martin Balsam do well enough in other roles.
  19. 4 Months, 3 Weeks and 2 Days
    It’s a pitiless, violent story that in its telling becomes a haunting and haunted intellectual and aesthetic achievement.
  20. Parasite
    Bong’s command of the medium is thrilling. He likes to move the camera, sometimes just to nudge your attention from where you think it should be, but always in concert with his restlessly inventive staging.
    • 97 Metascore
    • 80 Critic Score
    Battleship Potemkin
    Whether or not one is disposed to accept all the details as a faithful record, the fact remains that it is a production in which the director displays a vivid imagination and an artistic appreciation of motion picture values.
  22. A Streetcar Named Desire
    Elia Kazan and a simply superlative cast have fashioned a motion picture that throbs with passion and poignancy.
  23. The Maltese Falcon
    It's the slickest exercise in cerebration that has hit the screen in many months, and it is also one of the most compelling nervous-laughter provokers yet.
    • 97 Metascore
    • 100 Critic Score
    American Graffiti
    American Graffiti exists not so much in its individual stories as in its orchestration of many stories, its sense of time and place. Although it is full of the material of fashionable nostalgia, it never exploits nostalgia. In its feeling for movement and music and the vitality of the night—and even in its vision in white—it is oddly closer to some early Fellini than to the recent American past of, say, The Last Picture Show or Summer of '42.
    • 97 Metascore
    • 100 Critic Score
    12 Angry Men
    A penetrating, sensitive, and sometimes shocking dissection of the hearts and minds of men who obviously are something less than gods. It makes for taut, absorbing, and compelling drama that reaches far beyond the close confines of its jury room setting.
  26. Dumbo
    The most genial, the most endearing, the most completely precious cartoon feature film ever to emerge from the magical brushes of Walt Disney's wonder-working artists!...A film you will never forget.
  27. Roma
    Cuarón uses one household on one street to open up a world, working on a panoramic scale often reserved for war stories, but with the sensibility of a personal diarist. It’s an expansive, emotional portrait of life buffeted by violent forces, and a masterpiece.
    • 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.
  29. Spirited Away
    The towering, lost dreaminess at the heart of the film is an unmistakable obsession of this director.
  30. Toy Story
    Thanks to exultant wit and so many distinctive voices, Toy Story is both an aural and visual delight.
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