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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    • 71 Metascore
    • 40 Critic Score
    Johnny Got His Gun
    Insistent virtue, without ideas, becomes demagoguery.
    • 52 Metascore
    • 50 Critic Score
    Lawman
    A potent but curiously exasperating Western.
    • 56 Metascore
    • 50 Critic Score
    The Omega Man
    Peppered with some sharp, even amusing dialogue, the story temporarily shelves the heavy allegory and slips into good, slam-bang suspense. But it doesn't last.
  4. Willard
    Willard, which is otherwise a dull movie of no major consequence, is a rather astonishing footnote to a major urban problem.
    • tbd Metascore
    • 40 Critic Score
    The Night Digger
    It begs for empathy for its tortured principals, but despite the clearly dedicated contributions of Patricia Neal, Roald Dahl, her scenarist-husband; Pamela Brown and a young newcomer, Nicholas Clay, the strain on credibility is a good deal more notable than the impact on the emotions.
    • 64 Metascore
    • 50 Critic Score
    The Red Tent
    Despite the false bid for suspense in its framing device and its several ritual claims to excitement, it finally lacks even the interest of its own events. For this, I think the director is very much at fault.
  7. On Any Sunday
    The movie itself is anything but anticlimactic. By putting his cameras on the cycles, Brown achieves audience-participation effects with speed that amount to marvelous delirium.
  8. The Devils
    It's a see-through movie composed of a lot of clanking, silly, melodramatic effects that, like rib-tickling, exhaust you without providing particular pleasure, to say nothing of enlightenment.
    • 74 Metascore
    • 70 Critic Score
    The Panic in Needle Park
    It is a nightmare world view, but it is a world view, and The Panic in Needle Park never pretends that it is subject to moral condemnations, or to easy cure or the insights of urban sociology.
  10. Two-Lane Blacktop
    Two-Lane Blacktop is a far from perfect film (those metaphors keep blocking the road), but it has been directed, acted, photographed and scored (underscored, happily) with the restraint and control of an aware, mature filmmaker.
  11. Shaft
    Shaft is not a great film, but it's very entertaining.
  12. Carnal Knowledge
    More than any other film Nichols has made, Carnal Knowledge reminds me of his stage work at its best, particularly of the highly stylized Luv in which low comedy techniques were employed to illuminate material that might otherwise seem too cruel, or too anti‐heroic for a dramatic medium.
    • 81 Metascore
    • 50 Critic Score
    Klute
    Pakula, when he is not in dulging in subjective camera, strives to give his film the look of structural geometry, but despite the sharp edges and dramatic spaces and cinema presence out of Citizen Kane, it all suggests a tepid, rather tasteless mush.
  14. McCabe & Mrs. Miller
    I don't automatically object to contemporary allusions, but I prefer to find them myself, and McCabe and Mrs. Miller is so busy pointing them out to us that the effect is to undercut its narrative drive and the dignity of its fiction.
    • 52 Metascore
    • 40 Critic Score
    Le Mans
    Dramatically, the picture is a bore. And neither the oblique approach to these time-out sequences nor a ripe score by Michel Legrand manages to juice things up.
    • 61 Metascore
    • 70 Critic Score
    The Anderson Tapes
    In Sidney Lumet's The Anderson Tapes the quality of professionalism appears in rather lovely manifestations to raise a by no means perfect film to a level of intelligent efficiency that is not so very far beneath the reach of art.
    • 40 Metascore
    • 50 Critic Score
    The Horror of Frankenstein
    It's not only painless but also fun.
    • 47 Metascore
    • 40 Critic Score
    The Mephisto Waltz
    This shrill, heavy-handed exercise only makes us appreciate "Rosemary's Baby" all over again.
  19. They Might Be Giants
    A mushy movie with occasional, isolated moments of legitimate comedy, all provided by Mr. Scott with an assist by Mr. Goldman, whose sense of humor seems to surface in peripheral incidents only.
    • 57 Metascore
    • 70 Critic Score
    Big Jake
    Jogs along fairly tediously on the rescue trail, with the star being his laconic self, plus conventional spurts of violence, likewise the saddle humor.
    • 69 Metascore
    • 80 Critic Score
    Escape from the Planet of the Apes
    Nobody is going to believe it, but I must say anyway that Don Taylor's Escape From the Planet of the Apes is one of the better new movies in town, and better in a genre—science-fiction—that at the crucial middle level where the history of movies is made, if not written, has recently been not so much bad as invisible.
    • 63 Metascore
    • 50 Critic Score
    The Cat o' Nine Tails
    Only blindly abject devotees of the whodunit should discover catnip in The Cat O'Nine Tails. Any simple souls who expect large dollops of probability and authentic excitement are cautioned that they're in short supply in the concoction of slayings and sleuthing that is dished up here.
  23. Plaza Suite
    In the case of Plaza Suite, I don't have the feeling that anything much has been lost, but rather that nothing much was ever there.
    • 50 Metascore
    • 50 Critic Score
    Billy Jack
    The whole picture nicely conveys a Southwestern atmosphere. But much too often, at the cost of plain credibility, it stacks its cards, characters and even credo like any rootin', tootin' Western.
  25. Bananas
    Any movie that attempts to mix together love, Cuban revolution, the C.I.A., Jewish mothers, J. Edgar Hoover and a few other odds and ends (including a sequence in which someone orders 1,000 grilled cheese sandwiches) is bound to be a little weird—and most welcome.
  26. Sweet Sweetback's Baadasssss Song
    If Sweet Sweetback is unforgettable, it is also deeply flawed. The acting is mediocre at best. And in depicting women as grotesque, flailing sex machines serviced by the indifferent stud hero, it matches today's gangsta rap in arrogant misogyny.
  27. Summer of '42
    Robert Mulligan's Summer of '42 is a memory movie, written, directed and acted with such uncommon good humor that I don't think you'll be put off by its sweet soft-focus, at least until you start analyzing it afterwards.
    • 55 Metascore
    • 50 Critic Score
    The House That Dripped Blood
    Moves in many directions, but never too far from the mechanics of the high school play.
  29. The Beguiled
    I must say that I found it interesting (even when it approached the ludicrous) because of its place in relation to other Siegel films and because I have nothing but appreciation for the performers.
    • 80 Metascore
    • 80 Critic Score
    Get Carter
    Its violence is so ghastly and unremitting and its view of the human condition is so perfectly vile that one would almost rather wash one's mouth out with soap than recommend it. Yet it is so finely acted and crafted—and is so spectacularly better than the run of its genre—that as a lover of movies one feels practically diity‐bound to sing its praises.
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