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. The Roaring Twenties
    With a commentator's voice interpolating ultra-dramatic commonplaces as the film unreels, their melodrama has taken on an annoying pretentiousness which neither the theme nor its treatment can justify.
  2. Mr. Smith Goes to Washington
    [Capra] has paced it beautifully and held it in perfect balance, weaving his romance lightly through the political phases of his comedy, flicking a sardonic eye over the Washington scene, racing out to the hinterland to watch public opinion being made and returning miraculously in time to tie all the story threads together into a serious and meaningful dramatic pattern.
  3. Jamaica Inn
    Jamaica Inn will not be remembered as a Hitchcock picture, but as a Charles Laughton picture.
  4. The Wizard of Oz
    A delightful piece of wonder-working which had the youngsters' eyes shining and brought a quietly amused gleam to the wiser ones of the oldsters.
  5. Beau Geste
    Mr. Wellman's film seems dominated by the tremendous shadow of its predecessor.
  6. Young Mr. Lincoln
    Not merely a natural and straightforward biography, but a film which indisputably has the right to be called Americana. Henry Fonda's characterization is one of those once-in-a-blue-moon things: a crossroads meeting of nature, art, and a smart casting director.
  7. Only Angels Have Wings
    When you add it all up, Only Angels Have Wings comes to an overly familiar total. It's a fairly good melodrama, nothing more.
  8. Love Affair
    Mr. McCarey has balanced his ingredients skillfully and has merged them, as is clear in retrospect, into a glowing and memorable picture.
  9. Wuthering Heights
    It is Goldwyn at his best, and better still, Emily Brontë at hers. Out of her strange tale of a tortured romance Mr. Goldwyn and his troupe have fashioned a strong and somber film, poetically written as the novel not always was, sinister and wild as it was meant to be, far more compact dramatically than Miss Brontë had made it.
  10. The Story of Vernon and Irene Castle
    A beautifully told story, with sincere and vigorous performances, and with a solid and richly atmospheric production to lend its interest and fascination.
  11. Midnight
    One of the liveliest, gayest, wittiest and naughtiest comedies of a long hard season.
  12. Stagecoach
    Here, in a sentence, is a movie of the grand old school, a genuine rib-thumper and a beautiful sight to see.
  13. Intermezzo: A Love Story
    Intermezzo is not exactly a dramatic thunderbolt, nothing the glamour-conscious will be inflamed about. But we found it a mature, an eloquent and sensitive film and we recommend it to you.
  14. The Lady Vanishes
    If it were not so brilliant a melodrama, we should class it as a brilliant comedy.
  15. Jezebel
    It is still an interesting film, though, in spite of our sniffs at its climax; colorful, generally well-performed and admirably directed by William Wyler.
  16. Bringing Up Baby
    After the first five minutes of the Music Hall's new show - we needed those five to orient ourselves - we were content to play the game called "the cliche expert goes to the movies" and we are not at all proud to report that we scored 100 per cent against Dudley Nichols, Hagar Wilde and Howard Hawks, who wrote and produced the quiz. Of course, if you've never been to the movies, Bringing Up Baby will be all new to you - a zany-idden product of the goofy farce school. But who hasn't been to the movies?
  17. Young and Innocent
    Alfred Hitchcock, England's jovial and rotund master of melodrama, has turned out another crisply paced, excellently performed film in "The Girl Was Young."
  18. Snow White and the Seven Dwarfs
    It is a classic, as important cinematicaly as "The Birth of a Nation" or the birth of Mickey Mouse. Nothing quite like it has been done before; and already we have grown impolite enough to clamor for an encore. Another helping, please!
  19. True Confession
    A valiant comedy, it stands on a level with such blissfully remembered items as I Met Him in Paris and Nothing Sacred... for they are all of a piece -- witty, clever and hugely amazing shows.
    • 78 Metascore
    • 70 Critic Score
    Nothing Sacred
    Briskly paced under the direction of William Wellman, the caustic comedy by Ben Hecht treads harshly on many a taboo. [16 May 1999, p.5]
    • The New York Times
  21. The Awful Truth
    Awfully unimportant, but it is also one of the more laughable screen comedies of 1937.
  22. Captains Courageous
    With its rich production, magnificent marine photography, admirable direction and performances, the film brings vividly to life every page of Kipling's novel and even adds an exciting chapter or two of its own.
  23. A Star Is Born
    The original beauty. Not as glittery as Garland-Mason but in some ways even more golden.
  24. Marked Woman
    Marked Woman could easily have become a maudlin piece. It totters every now and then on the brink of bathos and of melodramatic hokum. But invariably it is snatched back by Lloyd Bacon's direction or by the honesty of its players.
  25. Sabotage
    A masterly exercise in suspense. His new film is imperfect narrative, but perfect dramaturgy.
  26. After the Thin Man
    In a changing age it is completely heartening to discover that the Charles family-Nick, the amateur sleuth, Nora, his understanding but frequently underfoot wife, and Asta, the hydrant fancier—has weathered successfully the well-known vicissitudes of time.
  27. My Man Godfrey
    An exuberantly funny picture.
  28. Swing Time
    The plot is never permitted to weigh upon the shoulders of the cast; of comedy there is a generous portion; of romance the lightest sprinkling; of dancing, in solo, duet and ensemble, a brisk and debonair allotment.
  29. The Green Pastures
    Naïve, ludicrous, sublime and heartbreaking masterpiece of American folk drama.
    • 67 Metascore
    • 50 Critic Score
    Secret Agent
    It is a defect of the screen narrative that all the spies seem to be continually engaged in melodramatic shadow boxing and that the authors, who couldn't have been Mr. Maugham, never really make out a case for the necessity of spying and never convince you that there is anything in Geneva worth spying on. But there are scattered high-lights.
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