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. Barry Lyndon
    Barry Lyndon is another fascinating challenge from one of our most remarkable, independent-minded directors.
  2. The Man Who Would Be King
    The movie, which was shot in Morocco, looks lovely and remote (how did we ever once settle for those black-and-white Hollywood hills?) and has just enough romantic nonsense in it to enchant the child in each of us.
  3. One Flew Over the Cuckoo's Nest
    A comedy that can't quite support its tragic conclusion, which is too schematic to be honestly moving, but it is acted with such a sense of life that one responds to its demonstration of humanity if not to its programmed metaphors.
    • 80 Metascore
    • 90 Critic Score
    Xala
    It is part fable and part satire, but it is much more: with the greatest fineness and delicacy, Mr. Sembene, the Senegalese writer and director who made this picture, has set out a portrait of the complex and conflicting mesh of traditions, aspirations and frustrations of a culture knocked askew by colonialism and distorting itself anew while climbing out.
    • 83 Metascore
    • 70 Critic Score
    Grey Gardens
    There is no doubt about the artistr and devotion that the Maysles have used in recording the life in Grey Gardens." There is no reason to doubt them when they say they love and admire the Beales. But the moviegoer will still feel like an exploiter. To watch Grey Gardens is to take part in a kind of carnival of attention with two willing but vulnerable people who had established themselves, for better or worse, in the habit of not being looked at. And what happens when the carnival moves on?
  6. F for Fake
    A charming, witty meditation upon fakery, forgery, swindling and art, a movie that may itself be its own Exhibit A.
  7. Three Days of the Condor
    Fast, vivd espionage-betrayal thriller, dandy plot. [24 Sep 1975]
    • The New York Times
  8. Swept Away
    Swept Away is less a film about ideas than about previous commitments, for which neither character can be held completely accountable. The enormous appeal of the comedy has to do with the way, briefly, each character, is able to overcome those commitments.
  9. Love and Death
    Besides being one of Woody's most consistently witty films, Love and Death marks a couple of other advances for Mr. Allen as a film maker and for Miss Keaton as a wickedly funny comedienne.
    • 50 Metascore
    • 50 Critic Score
    The Land That Time Forgot
    Just as the much grander Jaws became less scary the moment its mechanical shark appeared, the early virtues of Land collapse once the island is reached and the traffic jam in artificial monsters develops.
    • 70 Metascore
    • 60 Critic Score
    Farewell, My Lovely
    It's as if someone had put pillow springs, power-steering and a tape deck into a classic racing-car. It is still handsome and it still goes, but it is a handsome mediocrity.
    • 48 Metascore
    • 50 Critic Score
    The Drowning Pool
    This second time around for Harper is a lackluster workout despite its colorful settings, occasional tension and a cast that includes Joanne Woodward (Mrs. Newman). As a convoluted caper it generates action rather than character and surface mystery rather than meaning.
    • 59 Metascore
    • 50 Critic Score
    The Apple Dumpling Gang
    Walt Disney started by making movies in which animated drawings played the parts of people or animals who stood for people. Later he turned to making movies in which people or animals play the parts of animated drawings. They bound, they double-take, they simper when moved and quack when angry. Their disasters—crashes, plunges through space, explosions—are weightless. The Apple Dumpling Gang is a fair example.
    • 28 Metascore
    • 30 Critic Score
    The Devil's Rain
    The Devil's Rain is ostensibly a horror film, but it barely manages to be a horror. The quality of writing, acting and direction give a general and routine witlessness to this movie.
  15. Race with the Devil
    This is a ridiculous mishmash of a movie for people who never grew up, which is not so say it's for children. One would think that Mr. Fonda and Mr. Oates had better things to do, but perhaps not. American movie production is in a bad state.
    • 56 Metascore
    • 40 Critic Score
    Rollerball
    It's not funny at all and, not being funny, it becomes, instead, frivolous.
  17. Bite the Bullet
    A big, expensive Western that doesn't contain one moment that might be called genuine.
  18. Jaws
    If you think about Jaws for more than 45 seconds you will recognize it as nonsense, but it's the sort of nonsense that can be a good deal of fun, if you like to have the wits scared out of you at irregular intervals.
  19. Nashville
    A couple of sequences in the middle of the movie just mark time, but usually everything works, to make Nashville the most original, provocative high‐spirited film Mr. Altman has yet given.
  20. Lancelot of the Lake
    What's missing from the film is any urgent interior meaning, and this it may be because of the distractions of the exterior details. It may also be because the conflicts that rage within Lancelot — between duty and desire, courtly love and physical love — simply aren't complex enough to bring out the best in Mr. Bresson.
    • 42 Metascore
    • 50 Critic Score
    Bug
    Bug is decidedly poisonous. It is not simply a scary picture, nor simply a violent one. It is a cruel picture.
  22. The Wind and the Lion
    An elaborate, expensive‐looking, ludicrously jingoistic historical‐adventure that comes out so firmly in favor of Teddy Roosevelt's “Big Stick” policy, 70 years later, that it could also be a put‐on.
    • 61 Metascore
    • 70 Critic Score
    The Eiger Sanction
    The Eiger Sanction is a long, foolish but never boring suspense melodrama about a college art professor named Jonathan Hemlock (Clint Eastwood), who has a passion for French Impressionists and mountain climbing and an underground reputation as the best assassin in the international spy business.
  24. The Return of the Pink Panther
    The screenplay is funny but even better are the sight gags that are a kind of inventory of everything Clouseau has been unable to master in his long, irrelevant career.
  25. French Connection II
    The concerns of French Connection II are not much different from those of old Saturday-afternoon movie serials that used to place their supermen in jeopardy and then figure ways of getting them out. The difference is in the quality of the supermen and in their predicaments.
  26. The Fortune
    It's a marvelous attempt to recreate a kind of farce that, with the notable exceptions of a handful of films by Blake Edwards and Billy Wilder, disappeared after World War II.
  27. Smile
    It's an especially American kind of social comedy in the way that great good humor sometimes is used to reveal unpleasant facts instead of burying them.
  28. The Day of the Locust
    Its grossness—its bigger-than-life quality — is so much a part of its style (and what West was writing about) that one respects the extravagances, the almost lunatic scale on which Mr. Schlesinger has filmed its key sequences.
    • 58 Metascore
    • 50 Critic Score
    Death Race 2000
    In the end, it reveals itself to have nothing to say beyond the superficial about government or rebellion. And in the absence of such a statement, it becomes what it seems to have mocked—a spectacle glorifying the car is an instrument of violence.
    • 67 Metascore
    • 80 Critic Score
    Dolemite
    Dolemite remains the Citizen Kane of kung fu pimping movies. [26 May 2002, p.1]
    • The New York Times
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