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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    • 38 Metascore
    • 30 Critic Score
    Death Rides a Horse
    As usual, the clutter of clichés is exceeded only by the excessive sound and fury.
  2. The Wild Bunch
    Very beautiful and the first truly interesting, American-made western in years.
    • 34 Metascore
    • 30 Critic Score
    Eye of the Cat
    The plot is an overstated, reworked and all too familiar one.
  4. True Grit
    A marvelously rambling frontier fable packed with extraordinary incidents, amazing encounters, noble characters and virtuous rewards.
    • 47 Metascore
    • 70 Critic Score
    The April Fools
    The April Fools is not a comic masterpiece, but it has a nice, understated sense of the absurd.
  6. Midnight Cowboy
    Midnight Cowboy often seems to be exploiting its material for sensational or comic effect, but it is ultimately a moving experience that captures the quality of a time and a place. It's not a movie for the ages, but, having seen it, you won't ever again feel detached as you walk down West 42d Street, avoiding the eyes of the drifters, stepping around the little islands of hustlers, and closing your nostrils to the smell of rancid griddles.
    • 70 Metascore
    • 90 Critic Score
    Winning
    Probably the best-rounded and most appealing personalized film of this kind ever made.
  8. Mackenna's Gold
    The structure of the movie is so loose that a narrator (Victor Jory) must be employed from time to time to explain the plot, as if it were a serial. Most surprising in a movie that obviously cost a good deal of money is the sloppy matching of exterior and studio photography with miniature work for special effects.
    • 69 Metascore
    • 60 Critic Score
    Death of a Gunfighter
    The general tone, and point — festering hatred — is simply not enough to make the picture matter, although Mr. Widmark almost single-handedly does. Tough, laconic, squinty-eyed and moving around deceptively like a tired, middle-aged panther, he gives this characterization a scorching vibrancy.
  10. Salesman
    It’s such a fine, pure picture of a small section of American life that I can’t imagine its ever seeming irrelevant, either as a social document or as one of the best examples of what’s called cinema verite or direct cinema.
    • tbd Metascore
    • 40 Critic Score
    100 Rifles
    It is a loud, churning and triumphantly empty exercise.
  12. Support Your Local Sheriff!
    SUPPORT YOUR LOCAL SHERIFF, a Western period farce about a town-taming supersheriff, is something designed for sensibilities shaped by "Petticoat Junction" and "Green Acres."
  13. The Assassination Bureau
    Like an old electric automobile, the movie rolls forward, without surprises, steadily and almost soundlessly, except for the bomb explosion on the soundtrack. It's never as funny as it looks, but it's a pleasant enough ride if you like your companions.
  14. The Love Bug
    Such a vulnerable movie that if it were a little less sappy, one might feel compelled to protect it, as if it were someone under 7 or over 65 -- that portion of the public for which it is intended.
  15. Where Eagles Dare
    Where Eagles Dare is the ultimate metaphor. It encapsulates human experience into an ordered, comprehensible melodrama that is both absurd and entertaining.
  16. Sweet Charity
    Sweet Charity, the film adaptation of the Broadway musical, has been so enlarged and so inflated that it has become another maximal movie: a long, noisy and, finally, dim imitation of its source material.
    • 66 Metascore
    • 40 Critic Score
    Dracula Has Risen from the Grave
    Dracula Has Risen From The Grave. Yes, again. And judging by this junky British film in color—asplatter with catchup or paint or whatever, to simulate the Count's favorite color—he can descend again.
    • 75 Metascore
    • 60 Critic Score
    Black Girl (1966)
    [Mr. Sembène's] sadly pensive story of a young Dakar girl hired as a governess for a white couple's three children appears unevenly weighted in favor of Mr. Sembène's dolorous thesis.
    • 77 Metascore
    • 80 Critic Score
    Monterey Pop
    It is possible that the way to a new kind of musical—using some of the talent and energy of what is still the most lively contemporary medium—may begin with just this kind of musical performance documentary.
    • 67 Metascore
    • 70 Critic Score
    The Night They Raided Minsky's
    Unlike "Funny Girl," the screenplay is rich, not in stereotypes (mothers, accents), but in anecdotes, and there is a wonderful confrontation between Jason Robards, as a slick, sleazy burlesque entertainer, and the owner of a restaurant, "a man from principle," over an order of bagels, which are thrown, one by one, to the floor, with rage and elegance.
    • 90 Metascore
    • 60 Critic Score
    Red Beard
    Red Beard is well meant and well made, no question about it. But it unfolds familiarly and, at 185 minutes, practically forever.
    • 64 Metascore
    • 70 Critic Score
    Chitty Chitty Bang Bang
    A fast, dense, friendly children's musical, with something of the joys of singing together on a team bus on the way to a game.
  23. Oliver!
    The focus of the movie is so wide, and the logistics of the production so heavy, that Oliver himself, dutifully played by 9-year-old Mark Lester, gets flattened out and almost lost, as if he had been run over by a studio bulldozer.
    • 88 Metascore
    • 90 Critic Score
    Faces
    A really important movie about the American class, generation and marriage abyss.
    • 79 Metascore
    • 70 Critic Score
    Yellow Submarine
    Yellow Submarine is a family movie in the truest sense.
    • 58 Metascore
    • 70 Critic Score
    The Split
    That first hour, although it is not too well or tightly written, is extremely well directed, by Gordon Flemyng, with fine chases on the order of "Bullitt" and meaningful uses of the split screen when the credits are on.
    • 49 Metascore
    • 60 Critic Score
    Ice Station Zebra
    Ice Station Zebra is a fairly tight, exciting, Saturday night adventure story that suddenly goes all muddy in its crises, so that at two crucial points—when water comes rushing into a submarine under the polar ice cap, and when somebody is substituting something for the object everybody is searching for—it is very difficult to know what is going on, or who knows what about it. It doesn't make much difference, though.
    • 81 Metascore
    • 90 Critic Score
    Bullitt
    A terrific movie, just right for Steve McQueen—fast, well acted, written the way people talk.
    • 66 Metascore
    • 30 Critic Score
    The Boston Strangler
    THE BOSTON STRANGLER represents an incredible collapse of taste, judgment, decency, prose, insight, journalism and movie technique, and yet—through certain prurient options that it does not take—it is not quite the popular exploitation film that one might think. It is as though someone had gone out to do a serious piece of reporting and come up with 4,000 clippings from a sensationalist tabloid.
    • 51 Metascore
    • 40 Critic Score
    Barbarella
    The movie, written by Terry Southern and seven other writers and based upon a comic strip, rapidly becomes a special kind of mess. All the gadgetry of science fiction—which is not really science fiction, since it has no poetry or logic—is turned to all kinds of jokes, which are not jokes, but hard-breathing, sadistic thrashings, mainly at the expense of Barbarella, and of women.
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