The New York Times' Scores

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For 20,268 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 4.3 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 20268
  2. Mixed: 8,427 out of 20268
  3. Negative: 2,464 out of 20268
20268 movie reviews
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    • 68 Metascore
    • 50 Critic Score
    It Came from Outer Space
    Merely mildly diverting, not stupendous.
  2. House of Wax
    The major causes for anxiety presented by this film are in the savagery of its conception and the intolerable artlessness of its sound. It is thrown and howled at the audience as though the only purpose was to overwhelm the naturally curious patron with an excess of brutal stimuli.
  3. Shane
    Shane contains something more than beauty and the grandeur of the mountains and plains, drenched by the brilliant Western sunshine and the violent, torrential, black-browed rains. It contains a tremendous comprehension of the bitterness and passion of the feuds that existed between the new homesteaders and the cattlemen on the open range.
  4. I Confess
    Even though moments in the picture do have some tension and power, and the whole thing is scrupulously acted by a tightly professional cast, the consequence is an entertainment that tends to drag, sag and generally grow dull. It is not the sort of entertaiment that one hopefully expects of "Hitch."
  5. Ivanhoe
    Production of this picture in England endowed it with a rich, distinctive air. It is a grand picture, told in what Sir Walter himself called his "big bow-wow style."
  6. Peter Pan
    A wholly amusing and engaging piece of work within the defined limitations of the aforementioned Disney style. The Disney inventions are as skillful and clever as they have ever been.
    • 70 Metascore
    • 70 Critic Score
    Niagara
    The producers are making full use of both the grandeur of the Falls and its adjacent areas as well as the grandeur that is Marilyn Monroe. The scenic effects in both cases are superb.
  8. The Bad and the Beautiful
    It is a crowded and colorful picture, but it is choppy, episodic and vague.
  9. Road to Bali
    Quite simply, "Road to Bali" is a whoopingly hilarious film, full of pure crazy situations and deliciously discourteous gags, all played with evident relish and split-second timing by the team.
  10. The Star
    Even though redundant and familiar, as this performance inevitably is, with its obviously patterned reproduction of a caustic and vanity-ridden dame, Miss Davis still makes it sizzle with stinging sarcasm and feminine fire, so that it gives the illusion of emerging as a shaft of withering light from Hollywood.
  11. Forbidden Games
    Forbidden Games is a brilliant and devastating drama of the tragic frailties of men, clear and uncorrupted by sentimentality or dogmatism in its candid view of life.
  12. Million Dollar Mermaid
    Like the stage show, this Technicolored shindig, which laughingly pretends to be a biography of the famous swimmer, Annette Kellerman, is a luxuriance of razzle-dazzle that includes Hippodrome acts, water ballets, bathing suit shows, diving performances, low comedy, anachronisms and clichés. It also includes an abundance of Miss Williams and Victor Mature, but it does not include the felicities of a reasonably fascinating script.
  13. Limelight
    Neither comedy nor tragedy altogether, it is a brilliant weaving of comic and tragic strands, eloquent, tearful and beguiling with supreme virtuosity.
  14. The Snows of Kilimanjaro
    Thanks to a skillful combination of some sensational African hunting scenes, a musical score of rich suggestion and a vivid performance by Gregory Peck, Twentieth Century-Fox and Darryl F. Zanuck have concocted a handsome and generally absorbing film in The Snows of Kilimanjaro.
    • 85 Metascore
    • 80 Critic Score
    The Quiet Man
    Let's face it. Mr. Ford is in love with Ireland, as is his cast, and they give us a fine, gay time while they're about it.
  16. Don't Bother to Knock
    It requires a good deal to play a person who is strangely jangled in the head. And, unfortunately, all the equipment that Miss Monroe has to handle the job are a childishly blank expression and a provokingly feeble, hollow voice. With these she makes a game endeavor to pull something out of the role, but it looks as though she and her director, Roy Baker, were not quite certain what.
  17. High Noon
    Meaningful in its implications, as well as loaded with interest and suspense, High Noon is a western to challenge “Stagecoach” for the all-time championship. (Review of Original Release)
    • 64 Metascore
    • 80 Critic Score
    The Story of Robin Hood and His Merrie Men
    An expert rendition of an ancient legend that is as pretty as its Technical hues and as lively as a sturdy Western.
  19. Pat and Mike
    It is smoothly directed by George Cukor and slyly, amusingly played by the whole cast, especially by its due of easy, adroit, experienced stars.
  20. The Tales of Hoffmann
    Oddly enough, despite its opulence, coupled with a brilliant rendering of the score by the Royal Philharmonic Orchestra under Sir Thomas Beecham's bristling baton and some masterly singing of the libretto (in English) by a host of vocal cords, this film version of the opera is, in toto, a vastly wearying show.
    • 60 Metascore
    • 50 Critic Score
    Gone to Earth
    Powell and Pressburger have hammered the ingredients with blunt, unyielding strokes, seasoned with vague psychological clangings and only remotely tempered with humor and real perception.
  22. The Greatest Show on Earth
    Sprawling across a mammoth canvas, crammed with the real-life acts and thrills, as well as the vast backstage minutiae, that make the circus the glamorous thing it is and glittering in marvelous Technicolor--truly marvelous color, we repeat--this huge motion picture of the big-top is the dandiest ever put upon the screen.
  23. Singin' in the Rain
    The nonsense is generally good and at times it reaches the level of first-class satiric burlesque. Adolph Green and Betty Comden may have tossed off the script with their left hands, but occasionally they come through with powerful and hilarious round-house rights.
  24. The African Queen
    A slick job of movie hoodwinking with a thoroughly implausible romance, set in a frame of wild adventure that is as whopping as its tale of off-beat love. And the main tone and character of it are in the area of the well-disguised spoof...Mr. Huston merits credit for putting this fantastic tale on a level of sly, polite kidding and generally keeping it there, while going about the happy business of engineering excitement and visual thrills.
  25. Room for One More
    Room for One More makes for generally appealing movie fare. So long as this anecdotal look-in upon the experience of a husband and wife in bringing up two foster children, as well as three of their own, sticks simply to the humorous complications that arise in a house full of kids, plus appropriate livestock and paraphernalia, it has genuine gaiety and domestic charm.
  26. 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.
    • 70 Metascore
    • 50 Critic Score
    Quo Vadis
    Within and around these visual triumphs and rich imagistic displays is tediously twined a hackneyed romance that threatens to set your teeth on edge.
  28. Miracle in Milan
    Although it is questionable whether this picture has the simple, universal appeal of an old Chaplin film, for instance, or whether its meanings are as sharp as some may think, it is certainly a lively entertainment and should be a subject of discussion for months to come.
  29. On Dangerous Ground
    For all the sincere and shrewd direction and the striking outdoor photography, this R. K. O. melodrama fails to traverse its chosen ground.
  30. I'll See You in My Dreams
    Indeed, if it weren't for Mr. Thomas and the warmth that wells up from him, we would not want to voice a speculation as to the residual qualities of the film—not even conceding the wry humor that frequently pops in the script, the verve of the other performers and the nostalgic lushness of the songs.
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