The New York Times' Scores

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For 20,269 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: 9,377 out of 20269
  2. Mixed: 8,428 out of 20269
  3. Negative: 2,464 out of 20269
20269 movie reviews
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    • 50 Metascore
    • 50 Critic Score
    Hawmps!
    Hawmps is a long march on light provisions. Based on a tiny historical curiosity—an experimental use of camels by the United States cavalry in Texas in the mid-19th century—it should have been a nice small movie. Instead it stretches into an underpopulated two hours and five minutes.
  2. That's Entertainment, Part II
    Part 2 has been compiled with the kind of intelligence and affection that allow us to get some purchase on the Hollywood history made by M-G-M without spending our whole lives at the job.
  3. Stay Hungry
    Stay Hungry, the new film directed by Bob Rafelson (Five Easy Pieces and The King of Marvin Gardens), isn't all bad. It just seems that way when it pretends to be more eccentric than it is and to have more on its mind than it actually does.
  4. All the President's Men
    The manners and methods of big-city newspapering, beautifully detailed, contribute as much to the momentum of the film as the mystery that's being uncovered. Maybe even more, since the real excitement of All The President's Men is in watching two comparatively inexperienced reporters stumble onto the story of their lives and develop it triumphantly, against all odds.
  5. Family Plot
    A witty, relaxed lark. It's a movie to raise your spirits even as it dabbles in phony ones.
  6. The Bad News Bears
    Has a number of other virtues that make it a surprisingly painless adventure. Among these are the screenplay by Bill Lancaster, Burt's son, who has the talent and discipline to tell the story of The Bad News Bears almost completely in terms of what happens on the baseball diamond or in the dugout.
  7. Face to Face
    Bergman creates a stunning picture not only of personal anxiety but also of the fury that may exist just below the surface of any perfect state.
  8. Lipstick
    The revelation of Lipstick is another Hemingway, first name Mariel, Margaux's 14-year-old sister, who plays her sister in the film. As the chief witness to the events within the movie, and its ultimate victim, she gives an immensely moving, utterly unaffected performance that shows up everything else as a calculated swindle.
  9. Not a Pretty Picture
    Made nearly half a century ago and long hiding in plain sight, Martha Coolidge’s “Not a Pretty Picture” is at once an autobiographical documentary, a Pirandellian psychodrama, an acting exercise, a personal exorcism and a powerful political tract.
  10. Robin and Marian
    Robin and Marian is a hybrid movie, one that seems embarrassed by feelings; yet it works best when it admits those feelings, when it plays them straight.
  11. The Killing of a Chinese Bookie
    Watching the film is like listening to someone use a lot of impressive words, the meanings of which are just wrong enough to keep you in a state of total confusion, but occasionally right enough to hold your attention. What is he trying to say? It takes a little while to realize that maybe the speaker not only doesn't know but doesn't even care to think things out.
  12. Taxi Driver
    Acting of this sort is rare in films. It is a display of talent, which one gets in the theater, as well as a demonstration of behavior, which is what movies usually offer. Were Mr. De Niro less an actor, the character would be a sideshow freak.
  13. Dog Day Afternoon
    Dog Day Afternoon is a melodrama, based on fact, about a disastrously illplanned Brooklyn bank robbery, and it's beautifully acted by performers who appear to have grown up on the city's sidewalks in the heat and hopelessness of an endless midsummer.
    • 57 Metascore
    • 50 Critic Score
    The Killer Elite
    Mr. Peckinpah is mannered and inventive, and these qualities both give the film its strengths and undermine it horrendously. Cleverness, for one thing, gets in the way of comprehensibility.
  15. Barry Lyndon
    Barry Lyndon is another fascinating challenge from one of our most remarkable, independent-minded directors.
  16. The Man Who Would Be King
    The movie, which was shot in Morocco, looks lovely and remote (how did we ever once settle for those black-and-white Hollywood hills?) and has just enough romantic nonsense in it to enchant the child in each of us.
  17. One Flew Over the Cuckoo's Nest
    A comedy that can't quite support its tragic conclusion, which is too schematic to be honestly moving, but it is acted with such a sense of life that one responds to its demonstration of humanity if not to its programmed metaphors.
    • 80 Metascore
    • 90 Critic Score
    Xala
    It is part fable and part satire, but it is much more: with the greatest fineness and delicacy, Mr. Sembene, the Senegalese writer and director who made this picture, has set out a portrait of the complex and conflicting mesh of traditions, aspirations and frustrations of a culture knocked askew by colonialism and distorting itself anew while climbing out.
    • 83 Metascore
    • 70 Critic Score
    Grey Gardens
    There is no doubt about the artistr and devotion that the Maysles have used in recording the life in Grey Gardens." There is no reason to doubt them when they say they love and admire the Beales. But the moviegoer will still feel like an exploiter. To watch Grey Gardens is to take part in a kind of carnival of attention with two willing but vulnerable people who had established themselves, for better or worse, in the habit of not being looked at. And what happens when the carnival moves on?
  20. F for Fake
    A charming, witty meditation upon fakery, forgery, swindling and art, a movie that may itself be its own Exhibit A.
  21. Three Days of the Condor
    Fast, vivd espionage-betrayal thriller, dandy plot. [24 Sep 1975]
    • The New York Times
  22. Swept Away
    Swept Away is less a film about ideas than about previous commitments, for which neither character can be held completely accountable. The enormous appeal of the comedy has to do with the way, briefly, each character, is able to overcome those commitments.
  23. Love and Death
    Besides being one of Woody's most consistently witty films, Love and Death marks a couple of other advances for Mr. Allen as a film maker and for Miss Keaton as a wickedly funny comedienne.
    • 50 Metascore
    • 50 Critic Score
    The Land That Time Forgot
    Just as the much grander Jaws became less scary the moment its mechanical shark appeared, the early virtues of Land collapse once the island is reached and the traffic jam in artificial monsters develops.
    • 70 Metascore
    • 60 Critic Score
    Farewell, My Lovely
    It's as if someone had put pillow springs, power-steering and a tape deck into a classic racing-car. It is still handsome and it still goes, but it is a handsome mediocrity.
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