The New York Times' Scores

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For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
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  1. The Fortune Cookie
    The Fortune Cookie is no more sunny--and, if possible, even less romantic--than Kiss Me, Stupid, Mr. Wilder's last film and a comedy of unrelieved vulgarity, but it has style and taste.
    • 71 Metascore
    • 70 Critic Score
    Seconds
    Its so called science is still fiction, and its lesson is all to apparent to the mature. Its tensions and terrors, however, are genuinely fascinating.
  3. Masculine Feminine
    This document of youthful confusion has not aged one minute. If anything, its detached, discursive and sympathetic observation of the earnest foolishness of post-baccalaureate, pre-1968 Parisians is more acute, and more prophetic, than ever.
    • 98 Metascore
    • 90 Critic Score
    Au hasard Balthazar
    This is neither an easy film, nor, in the show biz sense, an entertaining one. It makes large demands upon its audience, and in return confers exceptional rewards.
  5. The Appaloosa
    Essentially a film of mordant feeling in which violence is always just below the surface of pokerfaced bluffing and fake Old-World Spanish courtesy.
    • 51 Metascore
    • 50 Critic Score
    Beau Geste
    The only thing really wrong with this tame little film, based on a prize-winning children's novel by Joseph Krumgold, is that nothing happens.
  7. Fantastic Voyage
    All I can tell you is it is quite a trip. Fortunately, all of the voyaging is done in the northern hemisphere.
  8. Alfie
    The whole thing is played expertly by everyone in the large cast, and a lively jazz score and bright color make it seem much more casual than it is.
  9. Torn Curtain
    In these times, with James Bonds cutting capers and pallid spies coming in out of the cold, Mr. Hitchcock will have to give us something a good bit brighter to keep us amused.
  10. A Fine Madness
    Like its careening, footloose hero, A Fine Madness needs discipline. But you'll never guess what lurks around the bend, from gold to brass.
    • 75 Metascore
    • 90 Critic Score
    Who's Afraid of Virginia Woolf?
    In its forthright dealing with the play, this becomes one of the most scathingly honest American films ever made.
    • 82 Metascore
    • 70 Critic Score
    The Endless Summer
    Happily, the viewer is not asked to ponder profundities very often—just to have fun.
    • 69 Metascore
    • 80 Critic Score
    The Russians Are Coming the Russians Are Coming
    Mr. Arkin and Mr. Reiner meet and the comedy takes off in wild flight.
    • 51 Metascore
    • 50 Critic Score
    The Alphabet Murders
    Unfortunately, neither Mr. Randall's Poirot nor the gags, chases and red herrings offered are inventive, comical or charming enough to make this more than a routine run through of clichés and clues.
    • tbd Metascore
    • 40 Critic Score
    A New World
    Feeble in concept and conventionally (if smoothly) executed.
    • 69 Metascore
    • 80 Critic Score
    Arabesque
    Producer-director, Stanley Donen, apparently goes on the theory that in a chase movie the plot should only be used as a framework, for visual entertainments. Arabesque provides those, all right—Op photography, lush décor, gimmicky locations and hairraising pursuits. And, of course, Sophia Loren, a stunning bit of animated scenery who is not called upon to act but to Dior.
  17. Harper
    The action is swift and the mystery fetching in this handsomely made color film. But eventually it seems a bit too obvious, imitative, old-fashioned and, worst of all, stale.
  18. The Singing Nun
    It takes a soft heart and a strong stomach to absorb the amount of saccharine that is studiedly and shamelessly dished up in Henry Koster's The Singing Nun.
    • 64 Metascore
    • 30 Critic Score
    The Naked Prey
    A poor and tasteless motion-picture entertainment, redeemed somewhat by its authentic African setting and its effective use of tribal drums and native music as the accompaniment for a primitive jungle chase.
    • 93 Metascore
    • 90 Critic Score
    Band of Outsiders
    "All you need to make a movie is a girl and a gun," Godard famously asserted, and Band of Outsiders, his seventh feature, is his demonstration of how to concoct a film out of the materials at hand.
  21. Doctor Zhivago
    And this is the weakness of the film. Mr. Bolt has reduced the vast upheaval of the Russian Revolution to the banalities of a doomed romance.
  22. Thunderball
    [Bond] also has a much better sense of humor than he has shown in his previous films. And this is the secret ingredient that makes Thunderball the best of the lot.
  23. That Darn Cat!
    The color is good and Bobby Darin warbles a song at the start that may be amusing to humans but would probably fill Felix with disgust. Anyhow, it's an entertaining picture.
    • 84 Metascore
    • 90 Critic Score
    King & Country
    King and Country is an uncompromising film. Some of its scenes are so strong they shock. Those who can take it will find it a shattering experience.
  25. Juliet of the Spirits
    Invites you to contemplate the symbolic vibration of every hue in its teeming, overcrowded canvas.
  26. Alphaville
    What it comes to is simply that the dazzle of Mr. Godard's cinematic style is not matched by the hackneyed idea of a robot society that is expounded in the script.
    • 67 Metascore
    • 50 Critic Score
    The Cincinnati Kid
    A respectably packaged drama of a young card sharp, played by Steve McQueen, with a capable enough cast, that pungently projects the machinations and back-room temperatures of the side-street professional gambling world and little else.
  28. Bunny Lake Is Missing
    The movie has its share of logical inconsistencies, although to dwell on them is to ignore its deliberate ambiguities and considerable panache.
  29. Help!
    The boys themselves are exuberant and uninhibited in their own genial way. They just become awfully redundant and—dare I say it?—dull.
  30. Faster, Pussycat! Kill! Kill!
    Although crudely acted, with laughably inept action sequences and a story that makes little sense, it has the feverish pulse of a classic B movie, boldly angular cinematography and a blaringly cheesy jazz soundtrack.
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