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. Cahill U.S. Marshal
    Cahill, United States Marshal was directed by Andrew V. McLaglen and written by Harry Julian Fink and Rita M. Fink. Perhaps recognizing the new limitations of their star, they spend a good deal of time trying to turn a conventional Western into a children-in-peril movie.
    • 59 Metascore
    • 60 Critic Score
    Sssssss
    Toned down, without the final fireworks, the picture would have emerged as a real sleeper for thriller fans, who should catch it anyway. It's certainly original.
    • 55 Metascore
    • 70 Critic Score
    Live and Let Die
    There is a marvelous escape from an alligator farm (deadly reptiles are rather a motif in this movie), a superb collection of grotesque ways of killing, and a fine sense of pace and rhythm.
  4. The Friends of Eddie Coyle
    The Friends of Eddie Coyle is so beautifully acted and so well set (in and around Boston's pool halls, parking lots, side-streets, house trailers and barrooms) that it reminds me a good deal of John Huston's Fat City. It also has that film's ear for the way people talk—for sentences that begin one way and end another, or are stuffed with excess pronouns.
    • 40 Metascore
    • 40 Critic Score
    Scream Blacula Scream
    Despite all its blood-letting, Scream Blacula Scream fails for lack of incident, weakness of invention, insufficient story.
  6. Playtime
    Jacques Tati's most brilliant film, a bracing reminder in this all-too-lazy era that films can occasionally achieve the status of art.
    • 58 Metascore
    • 50 Critic Score
    Dillinger
    In making his debut as a director, Mr. Milius gives us a "Dillinger" that is fascinating for its speed, action and firepower. But as character studies of decidedly interesting types out of explosive history, "Dillinger" shoots blanks most of the time.
    • 56 Metascore
    • 40 Critic Score
    The Legend of Hell House
    If John Hough, the director, and his small, willing cast maintain mild tension during their harried visit to this haunted "hell house," the few chills they provide are of little help.
  9. Pat Garrett & Billy the Kid
    Pat Garrett and Billy the kid suggest either that he (Peckinpah) has begun to take talk about his genius too seriously (it can happen to the best) or that he has fallen in with bad company.
  10. The Offence
    The revelations explode predictably, like the ingredients of a 24-hour cold capsule, but the dramatic impact is real while one is watching it.
    • 66 Metascore
    • 50 Critic Score
    Soylent Green
    Unfortunately, the script, direction and the principals involved in this struggle for survival often are as synthetic as Soylent Green.
  12. Paper Moon
    Peter Bogdanovich and his screenwriter, Alvin Sargent, who adapted Joe David Brown's novel, have set out to make a bittersweet comedy that is both in the style of thirties movies and about the thirties. They evoke the time (1936) and the place (rural Kansas and Missouri) so convincingly that their rather sweet formula story seems completely inadequate, even fraudulent.
    • 60 Metascore
    • 40 Critic Score
    Coffy
    Leaves a viewer with the happy thought that she now can get back to nursing and away from films like Coffy.
    • 57 Metascore
    • 60 Critic Score
    Scorpio
    The aphoristic style, combined with Winner's unwavering visual instinct for crushingly obvious detail, helps to push Scorpio out of low dullness into vertiginous absurdity.
  15. Season of the Witch
    Hungry Wives has the seedy look of a porn film but without any pornographic action. Everything in it, from the actors to the props, looks borrowed and badly used. [12 Dec 1980, p.8]
    • The New York Times
  16. Scarecrow
    It all goes decisively wrong when Jerry Schatzberg, the director, and Garry Michael White, who wrote the screenplay, decide to saddle the pair with a poetic vision that suddenly makes everything needlessly phony.
    • 81 Metascore
    • 70 Critic Score
    Theater of Blood
    Douglas Hickox's wry romp spotlights a vengeful Shakespearean ham (Vincent Price) and his helpful daughter (Diana Rigg). It's gory and funny. [14 Apr 1996, p.6]
    • The New York Times
  18. The Mack
    Even as action melodrama of a Shaft sort, the film is inept, so confused that occasionally it seems surreal.
  19. Sisters
    A good, substantial horror film with such a sense of humor that it never can quite achieve the solemnly repellent peaks of Roman Polanski's "Repulsion."
  20. Godspell
    I like its music, its drive and its determination, even when it's pretending to a kind of innocence and naiveté that I never for a second believe.
  21. The Crazies
    An inept science-fiction film from George A. Romero, the Pittsburgh man who established himself as the Grandma Moses of exurban horror films with The Night of the Living Dead.
  22. The Long Goodbye
    It's great fun and it's funny, but it's a serious, unique work.
  23. Walking Tall
    Valiant Southern sheriff. Effective, unsurprising.
    • 78 Metascore
    • 80 Critic Score
    Emitaï
    It is a cool, balanced, proportionate spirit, affectionate but unillusioned, and wonderfully suited to the intricacies (and the idiosyncracies) of the subject matter. Sembene does not grab you; he engages you.
    • 64 Metascore
    • 70 Critic Score
    The Train Robbers
    As an exercise in pleasantness, The Train Robbers is an interesting addition to the late history of the traditional unpretentious Western.
  26. Last Tango in Paris
    Bernardo Bertolucci's Last Tango in Paris is a beautiful, courageous, foolish, romantic, and reckless film.
  27. The Heartbreak Kid
    The Heartbreak Kid occasionally goes for laughs without shame (which is what has always bothered me about Simon's brand of New York comedy), but behind the laughs there is, for a change, a real understanding of character — which is something that I suspect, can be attribued to Miss May.
  28. The Life and Times of Judge Roy Bean
    It leaves itself wide open to charges of pretentiousness. Yet "The Life and Times of Judge Roy Bean" is so entertaining and so vigorously performed, especially by Newman in the title role, that its pretensions become part of its robust, knock-about style.
  29. The Getaway
    The action and the violence of The Getaway are supported by no particular themes whatsoever. The movie just unravels.
    • 70 Metascore
    • 60 Critic Score
    The Poseidon Adventure
    Though tensions slacken and credibility is strained here, realistic technical effects make the stricken ship and the efforts of its survivors to escape a fairly spellbinding adventure.
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