The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. The Tenant
    The film is superbly acted by Mr. Polanski, Mr. Douglas and Miss Winters, who might not be entirely convincing as a Parisian concierge in a realistic film, but who fits into this nightmare perfectly.
    • 63 Metascore
    • 60 Critic Score
    The Omen
    It is a dreadfully silly film, which is not to say that it is totally bad. Its horrors are not horrible, its terrors are not terrifying, its violence is ludicrous—which may be an advantage—but it does move along. There is not a great deal of excitement, but we manage to sustain some curiosity as to how things will work out. The Omen is the kind of movie to take along on a long airplane trip.
  3. Buffalo Bill and the Indians, or Sitting Bull's History Lesson
    In place of narrative drive it relies, on the momentum created by ‐ its visual spectacle, its prodigal way with ideas, its wit and its enthusiasm for the lunatic business of making movies.
  4. Logan's Run
    Logan's Run is less interested in logic than in gadgets and spectacle, but these are sometimes jazzily effective and even poetic. Had more attention been paid to the screenplay, the movie might have been a stunner.
  5. Murder by Death
    Murder by Death is as light and insubstantial as one could wish.
  6. Midway
    Midway solemnly cross-cuts between the war councils, chart rooms and communications offices on the American side and those on the Japanese side, with characters, who often have to be identified by subtitles, laboriously trying to give us all of the exposition necessary to make the battle coherent. There's no way to act such roles.
  7. The Food of the Gods
    There's very little excitement, but quite a few laughs, all provided by the dialogue contributed by Bert I. Gordon, who wrote the screenplay and then produced and directed it.
  8. Silent Movie
    A virtually uninterrupted series of smiles.
    • 55 Metascore
    • 60 Critic Score
    The Last Hard Men
    The Last Hard Men is not just a horse opera; it's practically Tristan and Isolde. Only the love-death relation isn't between a man and a woman but between a retired lawman and a halfbreed Navajo who is obsessed with the notion of killing him.
  10. The Missouri Breaks
    The film conveys a fine sense of place and period, of weather and mood and the precariousness of life, which are things that Mr. Nicholson responds to as an actor. Yet the plot, along with Mr. Brando, keeps intruding and throwing things out of balance.
  11. Grizzly
    Grizzly is not only clumsily plotted, photographed and edited, it is also downright rude when it insists on showing us the bear lopping off an arm or decapitating a horse. Because it's not good enough to earn the right to scare us, I would hope intelligent adults would avoid it and that parents would give it a personal X.
    • 50 Metascore
    • 50 Critic Score
    Hawmps!
    Hawmps is a long march on light provisions. Based on a tiny historical curiosity—an experimental use of camels by the United States cavalry in Texas in the mid-19th century—it should have been a nice small movie. Instead it stretches into an underpopulated two hours and five minutes.
  13. That's Entertainment, Part II
    Part 2 has been compiled with the kind of intelligence and affection that allow us to get some purchase on the Hollywood history made by M-G-M without spending our whole lives at the job.
  14. Stay Hungry
    Stay Hungry, the new film directed by Bob Rafelson (Five Easy Pieces and The King of Marvin Gardens), isn't all bad. It just seems that way when it pretends to be more eccentric than it is and to have more on its mind than it actually does.
  15. All the President's Men
    The manners and methods of big-city newspapering, beautifully detailed, contribute as much to the momentum of the film as the mystery that's being uncovered. Maybe even more, since the real excitement of All The President's Men is in watching two comparatively inexperienced reporters stumble onto the story of their lives and develop it triumphantly, against all odds.
  16. Family Plot
    A witty, relaxed lark. It's a movie to raise your spirits even as it dabbles in phony ones.
  17. The Bad News Bears
    Has a number of other virtues that make it a surprisingly painless adventure. Among these are the screenplay by Bill Lancaster, Burt's son, who has the talent and discipline to tell the story of The Bad News Bears almost completely in terms of what happens on the baseball diamond or in the dugout.
  18. Face to Face
    Bergman creates a stunning picture not only of personal anxiety but also of the fury that may exist just below the surface of any perfect state.
  19. Lipstick
    The revelation of Lipstick is another Hemingway, first name Mariel, Margaux's 14-year-old sister, who plays her sister in the film. As the chief witness to the events within the movie, and its ultimate victim, she gives an immensely moving, utterly unaffected performance that shows up everything else as a calculated swindle.
  20. Not a Pretty Picture
    Made nearly half a century ago and long hiding in plain sight, Martha Coolidge’s “Not a Pretty Picture” is at once an autobiographical documentary, a Pirandellian psychodrama, an acting exercise, a personal exorcism and a powerful political tract.
  21. Robin and Marian
    Robin and Marian is a hybrid movie, one that seems embarrassed by feelings; yet it works best when it admits those feelings, when it plays them straight.
  22. The Killing of a Chinese Bookie
    Watching the film is like listening to someone use a lot of impressive words, the meanings of which are just wrong enough to keep you in a state of total confusion, but occasionally right enough to hold your attention. What is he trying to say? It takes a little while to realize that maybe the speaker not only doesn't know but doesn't even care to think things out.
  23. Taxi Driver
    Acting of this sort is rare in films. It is a display of talent, which one gets in the theater, as well as a demonstration of behavior, which is what movies usually offer. Were Mr. De Niro less an actor, the character would be a sideshow freak.
  24. Dog Day Afternoon
    Dog Day Afternoon is a melodrama, based on fact, about a disastrously illplanned Brooklyn bank robbery, and it's beautifully acted by performers who appear to have grown up on the city's sidewalks in the heat and hopelessness of an endless midsummer.
    • 57 Metascore
    • 50 Critic Score
    The Killer Elite
    Mr. Peckinpah is mannered and inventive, and these qualities both give the film its strengths and undermine it horrendously. Cleverness, for one thing, gets in the way of comprehensibility.
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