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. A Man Called Horse
    Silverstein has elected to tell the story of Lord John's survival largely in terms of Sioux rituals relating to such things as wars, weddings, deaths, and even spiritual deliverance. I must admit that I found all this interesting, although I'm the sort of Indian buff and tourist who gets a kick out of watching contemporary Navajos do their rain dances in tennis shoes.
    • 73 Metascore
    • 80 Critic Score
    Mandabi
    As a comedy dealing with life's miseries, it displays a controlled sophistication in the telling that gives it a feeling of almost classic directness and simplicity.
    • 69 Metascore
    • 80 Critic Score
    Bloody Mama
    What hoists the picture into real substance toward the home stretch is an eerie and fascinating by credible sequence with the Barker clan holding as captive a blindfolded millionaire, strongly played by Pat Hingle.
  4. The Boys in the Band
    Crowley has a good, minor talent for comedy-of-insult, and for creating enough interest, by way of small character revelations, to maintain minimum suspense.
  5. Airport
    Airport, the film version of Arthur Hailey's novel, is the sort of movie most people mean when they say Hollywood doesn't make movies the way it used to. This isn't just because Airport resembles any number of old Grand Hotel movies. Rather it's because it evokes our nostalgic feelings, not only for the innocence of old movies but also for the innocent old times in which we saw them.
  6. Patton
    A huge, initially ambivalent but finally adoring, Pop portrait of one of the most brilliant and outrageous American military figures of the last one hundred years.
    • 42 Metascore
    • 70 Critic Score
    The Magic Christian
    A superb realization of the book.
    • 82 Metascore
    • 80 Critic Score
    The Honeymoon Killers
    Within the limits of its type it is one of the best and, curiously, most beautiful American movies in recent years.
    • 62 Metascore
    • 40 Critic Score
    The Molly Maguires
    Realism without much reality, enormous care for the wrong details, historical accuracy and spineless dramaturgy, The Molly Maguires vacillates among intentions and settles finally for ponderous spectacle and easy irony.
    • 80 Metascore
    • 60 Critic Score
    MASH
    Although it is impudent, bold, and often very funny, it lacks the sense of order (even in the midst of disorder) that seems the special province of successful comedy.
    • 66 Metascore
    • 70 Critic Score
    The Reivers
    Mark Rydell's direction conveys a zestful spirit, as do the film's turn-of-the-century look and picaresque minor characters.
    • 54 Metascore
    • 50 Critic Score
    The Computer Wore Tennis Shoes
    This "Computer" isn't I.B.M.'s kind but it's homey, lovable, as exciting as porridge and as antiseptic and predictable as any homey, half-hour TV family show.
    • 61 Metascore
    • 60 Critic Score
    On Her Majesty's Secret Service
    He's tall, dark, handsome and has a dimpled chin. But Mr. Lazenby, if not a spurious Bond, is merely a casual, pleasant, satisfactory replacement. For the record, he plays a decidedly second fiddle to an overabundance of continuous action, a soundtrack as explosive as the London Blitz, and flip dialogue and characterizations set against some authentic, truly spectacular Portuguese and Swiss scenic backgrounds, caught in eyecatching colors.
  14. Topaz
    Topaz is not only most entertaining. It is, like so many Hitchcock films, a cautionary fable by one of the most moral cynics of our time.
    • 67 Metascore
    • 80 Critic Score
    Cactus Flower
    The picture moves around comfortably in nice color, against some authentic Manhattan exteriors. But it is primarily the verve and skill of the performances, the pungent air of sexual chemistry and the peppery good humor that make the movie so diverting.
  16. Hello, Dolly!
    Gene Kelly, who directed two classic musicals with Stanley Donen, here acts like a caretaker of a big, valuable property. He and Michael Kidd, his choreographer, have protected everything Gower Champion gave the original, and added nothing to the heritage of the musical screen except statistics.
    • 62 Metascore
    • 70 Critic Score
    Marooned
    If Marooned falls short as a soaring blockbuster, it does keep both feet on the ground.
  18. Z
    An immensely entertaining movie -- a topical melodrama that manipulates our emotional responses and appeals to our best prejudices in such satisfying ways that it is likely to be mistaken as a work of fine -- rather than popular -- movie art.
    • 89 Metascore
    • 90 Critic Score
    Downhill Racer
    In appreciating that world, its pathos, its narcissism, its tensions, and its sufficient moments of glory, Downhill Racer succeeds with sometimes chilling efficiency. Within the limits imposed by the tangential nature of its insights, it is a very good movie.
  20. Goodbye, Mr. Chips
    Should it survive—and I suspect it will — it will be largely because of the restrained, affectingly comic performance of Peter O'Toole in the title role. Everything else in this British public-school romance is either out of symmetry or out of date.
  21. Butch Cassidy and the Sundance Kid
    The over-all production is very handsome, and the performances fine, especially Newman, Redford, and Miss Ross, who must be broadly funny and straight, almost simultaneously.
  22. Battle of Britain
    These sequences—the dogfights over Dover, the disintegration of planes in mid-air, the graceful tactics of evasion—are more than just technically stunning. They also are beautiful, in the completely impersonal way that the spectacle of machines—working well and seemingly with wills of their own—can be beautiful. Unfortunately, something less than one-third of the film takes place in the air.
  23. The Sterile Cuckoo
    Quite clearly, Pookie Adams is a marvelous role, full of tough-sweet humor, and Liza Minnelli, the daughter of Vincente Minnelli and the late Judy Garland, turns it into one of the most appealing performances of the season, a triumph limited only by the squashy movie that encases it.
  24. Paint Your Wagon
    An amiable, $20-million musical. That's a high price to pay for something that is more an expression of good intentions than evidence of sustained cinematic accomplishment. However, because amiability is never in over abundant supply, especially in Hollywood super-productions, the movie can be enjoyed more often than simply tolerated.
  25. The Italian Job
    The film is technically sophisticated and emotionally retarded.
  26. Medium Cool
    A film of tremendous visual impact, a kind of cinematic Guernica, a picture of America in the process of exploding into fragmented bits of hostility, suspicion, fear and violence.
    • 66 Metascore
    • 70 Critic Score
    The Rain People
    [Coppola] has made a relentlessly good-looking, accurate-feeling movie without the patronizing paranoia toward the American heartland and its natives that is so much in fashion these days.
  28. Easy Rider
    With the exception of Nicholson, its good things are familiar things - the rock score, the lovely, sometimes impressionistic photography by Laszlo Kovacs, the faces of small-town America.
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