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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  1. Angel on My Shoulder
    The story is so imitative—and is repeated so dutifully—that it's hard to feel any more towards it than a mildly nostalgic regard.
  2. Notorious
    One of the more remarkable things about Notorious is that it hasn't seemed to age; if anything, it grows more timely. [26 Oct 1980, p.17]
    • The New York Times
  3. The Big Sleep
    The Big Sleep is one of those pictures in which so many cryptic things occur amid so much involved and devious plotting that the mind becomes utterly confused. And, to make it more aggravating, the brilliant detective in the case is continuously making shrewd deductions which he stubbornly keeps to himself.
  4. Brief Encounter
    An uncommonly good little picture.
  5. Make Mine Music
    Vivid, motley, ornamental and just-a-bit questionable in spots.
  6. The Stranger
    The whole thing becomes a routine and mechanical cat-and-rat chase, with the outcome completely apparent, despite a few bright and clever twists.
    • 65 Metascore
    • 50 Critic Score
    Till the End of Time
    Only intermittently compelling as an entertainment, notwithstanding the freshness and urgency of its subject.
  8. The Postman Always Rings Twice
    The picture achieves its distinction through the smart way in which it has been made and through the quality of its representation of two passion-torn characters.
  9. Road to Utopia
    A blizzard of fractious sport and clowning, a whirlwind of gags and travesty, a snowdrift of suffocating nonsense.
    • 67 Metascore
    • 70 Critic Score
    To Each His Own
    To Each His Own spins dangerously on the brink of bathos but it seldom spills over into that treacherous chasm for more than a fleeting scene or two, thanks to a screen play which artfully dodges complete morbidity.
  11. The Harvey Girls
    It may be a rather lofty tribute to Fred Harvey's girls, but it's a show.
  12. They Were Expendable
    It is nostalgic, warm with sentiment and full of fight in every foot. It is hard to commend any actor above the rest. Each plays his part well.
  13. Spellbound
    Not to be speechless about it, David O. Selznick has a rare film in Spellbound.
    • 88 Metascore
    • 70 Critic Score
    Mildred Pierce
    Mildred Pierce lacks the driving force of stimulating drama, and its denouement hardly comes as a surprise, but it is cut from a pattern that has been hugely successful in the past and it probably will be this time too.
  15. Rhapsody in Blue
    The performers are quite naturally restricted by the limitations of the script—and by the purely pedestrian direction that Irving Rapper has given them.
  16. Lady on a Train
    It's an empty and careless little fable, intended to be a mystery farce, about the wholly incredible mix-up of a debutante in a murder plot.
    • 64 Metascore
    • 40 Critic Score
    Christmas in Connecticut
    Peter Godfrey, the director, has a good deal to learn about the art of telling a boudoir joke in the parlor and getting away with it.
  18. Anchors Aweigh
    For a popular entertainment, Anchors Aweigh is hard to beat. The proof is that it pleases both the pro and con Sinatra-ites.
  19. The Life and Death of Colonel Blimp (1945)
    Colonel Blimp is as unmistakably a British product as Yorkshire pudding and, like the latter, it has a delectable savor all its own.
  20. Without Love
    Miss Hepburn gives a mischievous performance as the girl who really wants to be chased, and Mr. Tracy is charmingly acerbic when confronted with her cool or coy wiles.
  21. The Horn Blows at Midnight
    The script is neither satire nor good, fresh, fanciful corn. It is a batch of old-fashioned nonsense put together without distinct charm.
  22. The Picture of Dorian Gray
    The whole thing... makes little or no intelligible sense.
  23. The Three Caballeros
    A fantastic film...There is no question that Mr. Disney has got here a brilliant, fluid style for presenting musical pictures and that his enthusiasm expressed throughout is great. But he has't quite brought them into order. His film is flashy and exciting - and no more.
    • 79 Metascore
    • 90 Critic Score
    Objective, Burma!
    Objective, Burma, directed exceedingly well by Raoul Walsh from a first-class script by Ranald MacDougall and Lester Cole, is a stirring tribute to the sterling fighting men who helped to reopen Burma after the initial Japanese onslaught in the Pacific.
  25. The Body Snatcher
    This new gloomlodger, though not as nerve-paralyzing as the performers might lead you to expect, has enough suspense and atmospheric terror to make it one of the better of its genre.
  26. National Velvet
    Indeed, in its simple comprehension of the faith and affection of youth it is likely more tender and affecting than even the story of Lassie was. And it certainly is more exciting in its vivid, dramatic display.
  27. To Have and Have Not
    What Mr. Hawks and his script-writers have done to Mr. Hemingway's tale is to shape it out of all recognition into a pattern of worldly intrigue.
  28. Meet Me in St. Louis
    Vincente Minnelli, in his direction, has got all the period charm out of ladies dressed in flowing creations, gentlemen in straw "boaters" and ice-cream pants, rooms lush with golden-oak wains-coating, ormolu decorations and red-plush chairs.
  29. Thirty Seconds Over Tokyo
    As the recreated picture of one of our coldest blows in this war and as a drama of personal heroism, it is nigh the best yet made in Hollywood.
  30. Mrs. Parkington
    Writers, director and producer have all of them obviously conspired to give the two stars a rapturous workout and let reason fall where it may. As a consequence, we see here a picture in which the clichés of ideal romance have been piled up so richly and warmly that a point of suffocation is almost reached.
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