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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    • 59 Metascore
    • 30 Critic Score
    Finian's Rainbow
    The cast is full of children who act as artificially and insincerely as the whole enterprise, directed by Francis Ford Coppola, would suggest.
    • 69 Metascore
    • 80 Critic Score
    Romeo and Juliet
    A lovely, sensitive, friendly popularization of the play.
    • 51 Metascore
    • 80 Critic Score
    Shalako
    Lots of shooting, galloping, terse dialogue—it is the perfect movie to see in a two-theater town on a Saturday night.
  4. Night of the Living Dead
    Night of the Living Dead is a grainy little movie acted by what appear to be nonprofessional actors, who are besieged in a farm house by some other nonprofessional actors who stagger around, stiff-legged, pretending to be flesh-eating ghouls.
  5. Charly
    I'm told by someone whose opinion I respect that the novel was very moving and very sad. The movie is not. It's science-fiction without gadgets, a horror film without thrills.
  6. Who's That Knocking at My Door?
    The director, who also wrote the original story and screenplay, hasn't succeeded in making a drama that is really much more aware than the characters themselves. The result is a movie that is as precise—and as small—as a contact print.
    • 74 Metascore
    • 80 Critic Score
    Rachel, Rachel
    Rachel, Rachel...is a real Movie movie, a little sappy at moments, but the best written, most seriously acted American movie in a long time.
    • 35 Metascore
    • 10 Critic Score
    Inspector Clouseau
    A comedy so uninspired, so relentlessly awful that one occasionally laughs for it—more like a moo or a snort or a gagging noise—just to interrupt it a little or help it out of the room.
    • 77 Metascore
    • 80 Critic Score
    The Story of a Three-Day Pass
    The film is a kind of gentle cross between Hiroshima Mon Amour and Guess Who's Coming to Dinner—a little hard to imagine, it is true, but less pretentious than the first and less false than the second. If you like one of them I think you are obliged to like all three.
    • 66 Metascore
    • 70 Critic Score
    The Thomas Crown Affair
    An ordinary, not wonderful, but highly enjoyable movie.
  11. King Kong Escapes
    The Toho moviemakers are quite good in building miniature sets, but much of the process photography—matching the miniatures with the full-scale shots—is just bad.
    • 96 Metascore
    • 60 Critic Score
    Rosemary's Baby
    Miss Farrow is quite marvelous, pale, suffering, almost constantly on-screen in a difficult role that requires her to be learning for almost two hours what the audience has guessed from the start...Everyone else is fine, but the movie—although it is pleasant—doesn't quite work on any of its dark or powerful terms.
    • 53 Metascore
    • 50 Critic Score
    Speedway
    This is after all, just another Presley movie — which makes no great use at all of one of the most talented, important and durable performers of our time.
  14. The Party
    It’s the tension between Sellers’s inane tact and the general tastelessness of his surroundings that gives the movie its zing.
    • 79 Metascore
    • 50 Critic Score
    Planet of the Apes
    It is no good at all, but fun, at moments, to watch.
    • 84 Metascore
    • 60 Critic Score
    2001: A Space Odyssey
    The movie is so completely absorbed in its own problems, its use of color and space, its fanatical devotion to science-fiction detail, that its is somewhere between hypnotic and immensely boring.
    • 71 Metascore
    • 80 Critic Score
    Blackbeard's Ghost
    The whole thing, by the way, shines in nifty color. But the real appeal of such wholesomeness is the brisk, unsugary serving, under Robert Stevenson's trim direction, and the consistently adroit humor, which sidesteps slapstick.
    • 65 Metascore
    • 80 Critic Score
    Firecreek
    Firecreek is a good, sturdy and occasionally powerful little Western.
  19. The Graduate
    Funny, outrageous, and touching, The Graduate is a sophisticated film that puts Mr. Nichols and his associates on a level with any of the best satirists working abroad today.
  20. Doctor Dolittle
    Richard Fleischer's direction, is slow and without surprise. Indeed, toward the end it is perfunctory. Things happen mechanically. The actors appear self-conscious and the fantasy is dull.
  21. Valley of the Dolls
    It's an unbelievably hackneyed and mawkish mish-mash of backstage plots and Peyton Place adumbrations in which five women are involved with their assorted egotistical aspirations, love affairs and Seconal pills.
  22. Bedazzled
    Maybe the brand of British banter and buffoonery that Peter Cook and Dudley Moore bombard us with in Stanley Donen's Bedazzled would be very funny if it came in small bursts at not too frequent intervals in an expansive musical comedy or revue. But fired at you exclusively and endlessly for more than an hour and a half in this pretentiously metaphorical picture...it becomes awfully precious and monotonous.
  23. Navajo Joe
    The latest of a succession of super-bloody Westerns made by Italians and Spaniards in Spain with Italian, Spanish and American actors, this time led by Burt Reynolds, as the American titular superhero who dispatches troops of villains singlehanded. Shot in color but decidedly colorless.
    • 90 Metascore
    • 90 Critic Score
    Samurai Rebellion
    Amazing: stirring, subversive and, beneath their dauntingly severe surfaces, sneakily lyrical.
  25. The Fearless Vampire Killers
    This beautifully produced, superbly scenic and excitingly photographed spoof of old-fashioned horror movies is as dismal and dead as a blood-drained corpse.
  26. Cool Hand Luke
    Mr. Newman is excellent, at the top of his sometime erratic form, in the role of this warped and alienated loner whose destiny it is to lose. George Kennedy is powerfully obsessive as the top-dog who handles things his way as effectively and finally as destructively as does the warden or the guards.
  27. Hour of the Gun
    The wonder is that John Sturges, a top director, has made such an obvious, slow film with this cast, and that Mr. Garner should be such a nobody as the legendary Mr. Earp.
  28. Wait Until Dark
    Once this build-up is accomplished—once the sinister plot is launched and the young woman suddenly realizes that she has been duped and is in grave peril—the shock and suspense of the situation hit the audience with almost the same force, I'd imagine, as they evidently hit her. And from here on, the tension is terrific and the melodramatic action is wild as the blind woman uses all her courage and ingenuity to foil her assailants and save her life.
  29. Camelot
    What it basically needed in its transfer to the screen was a drenching in cinema magic to remove all the dull and pretentious patches of realism and romantic cliché that kept it from sparkling in the theater. And that's what we all hoped it would have. Well, it hasn't, alas.
    • 65 Metascore
    • 80 Critic Score
    The Jungle Book
    Based loosely on Rudyard Kipling's Mowgli stories, this glowing little picture should be grand fun for all ages.
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