The New York Times' Scores

Select another publication »
For 20,271 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 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
view
per page
  1. California Split
    A fascinating, vivid movie, not quite comparable to any other movie that I can immediately think of. Nor is it easily categorized.
  2. Death Wish
    Death Wish is so cannily fabricated that it sometimes succeeds in arousing the most primitive kind of anger. Yet it's a despicable movie, one that raises complex questions in order to offer bigoted, frivolous, oversimplified answers.
    • 49 Metascore
    • 60 Critic Score
    Where the Red Fern Grows
    There is nothing pretentious or particularly ambitious about Where the Red Fern Grows, but it is a nice film about a boy and his dogs in a peaceful time long ago. [17 Mar 1985, p.28]
    • The New York Times
    • 73 Metascore
    • 80 Critic Score
    That's Entertainment!
    The pleasures are abundant: Gene Kelly squelching sublimely through puddles in Singin' in the Rain; Judy Garland singing Get Happy over a series of clips of her faces at all ages—the result is a joyful obituary.
  5. Chinatown
    Mr. Polanski and Mr. Towne attempted nothing so witty and entertaining, being content instead to make a competently stylish, more or less thirites-ish movie that continually made me wish I were back seeing "The Maltese Falcon" or "The Big Sleep." Others may not be as finicky. [21 June 1974]
    • The New York Times
  6. The Parallax View
    The movie, which directed by Alan J. Pakula, never rewards the attention we give it with anything more substantial than a few minor shocks.
    • 41 Metascore
    • 30 Critic Score
    The Terminal Man
    The picture moves as slowly as a glacier—an image that's reinforced by the repetitive shots of long, white hospital corridors, white bathrooms and home décor—in fact, it's a white-on-white movie. There's no suspense; the only frightening moments occur when you fear it may last forever, especially during the seemingly endless operation and an interminable manhunt.
    • 69 Metascore
    • 70 Critic Score
    The Seduction of Mimi
    In "Mimi," politics and sex are so well balanced that all the raw emotions and the devastating jokes ring true.
  9. Herbie Rides Again
    The problem with comedies as witless as this is that the villains are much more appealing than the good guys. One winds up rooting for the fellows who would tear down the Plaza to put up a 100‐story, glass‐andbrass breadstick.
  10. My Name Is Nobody
    My Name Is Nobody is terribly knowing. It has the manner of a buff who knows absolutely everything about a subject most other people haven't time for, but it's also very entertaining.
    • 62 Metascore
    • 50 Critic Score
    Thunderbolt and Lightfoot
    Not so hot. Try again, boys.
  12. Daisy Miller
    Daisy Miller transfers to the screen simply and elegantly. Very little is lost that isn't regained through the always unpredictable conjunction of performers with material.
  13. Dirty Mary Crazy Larry
    Dirty Mary Crazy Larry is as aimless as its dimly seen characters, who talk a lot of dreadful, cute-tough dialogue but are never recognizable except as the actors who play them. Even that factor isn't much help in enjoying the film.
    • 50 Metascore
    • 60 Critic Score
    The Black Windmill
    Michael Caine's exasperating cool robs this very well‐made movie of some of its potential excitement.
  15. Frankenstein and the Monster from Hell
    The film, written by John Elder and directed by Terence Fisher, is not without its intentional giggles. Compared with "Andy Warhol's Frankenstein," however, it is very straight and solemn, chock full of the old horror film values we don't see much of any more.
  16. The Lords of Flatbush
    This study of the growing pains of the leather jacket‐bobby soxer Brooklyn high school set of 1957 is, by turns, cheerful, confused, juvenile and never fully realized.
  17. Pink Floyd at Pompeii – MCMLXXII
    It is a glimpse into a vanished era, of self-indulgence mixed with wide-eyed experimentation, to watch ''A Saucerful of Secrets'' - with the band banging wildly at its instruments above Nick Mason's drumbeat - as musicians and director take everything very, very seriously. [13 May 1984, p.32]
    • The New York Times
  18. The Conversation
    Mr. Coppola, the writer as well as the director, has nearly succeeded in making a great film but has, instead, made one that is merely very good.
    • 65 Metascore
    • 70 Critic Score
    The Sugarland Express
    The movie has a casual craziness that seems especially native.
    • 46 Metascore
    • 40 Critic Score
    Foxy Brown
    Miss Grier is obviously durable but, unfortunately, is fast becoming a bore despite all the sex, brawls and gore in Foxy Brown.
  21. The Golden Voyage of Sinbad
    Children who revel in clean-cut heroes, villains given to spells and incantations and the kind of special effects that breathe life into mandrake root, ships' figure-heads, centaurs, griffins and statues of Kali (always a deity beloved of evil forces) will probably find it a happy concoction for passing a rainy afternoon.
  22. Dark Star
    There are some funny routines here, though Mr. Carpenter doesn't seem to have cared much about integrating or sustaining them. Mr. Carpenter makes his amateurishness unmistakable, especially when it comes to the film's four actors. Only one of them can act even crudely (fortunately, his is the largest role). The other three, neither photogenic nor particularly extroverted, look like well-meaning fraternity brothers helping out a pal with his class project.
  23. The Great Gatsby
    Nothing that Mr. Clayton does with the actors or with the camera comes close to catching the spirit of Fitzgerald's impatient brilliance. The film transforms "Gatsby" into a period love story that seems to take itself as solemnly as "Romeo and Juliet."
  24. The Three Musketeers
    Mr. Lester's interpretation of The Three Musketeers looks like an evening in a bump-o-car arena, with magnificently costumed people in place of cars. The adventures are less swashbuckle than slapstick.
  25. Thieves Like Us
    Thieves Like Us is such an engaging, sharply observed account of a long-lost time, and of some of the people who briefly inhabited it, that I hope it doesn't get confused with other films that seem, superficially anyway, to have covered the same territory.
  26. Blazing Saddles
    Much of the laughter Mr. Brooks inspires is hopeful, before-the-gag laughter, which can be terribly tiring...Blazing Saddles has no dominant personality, and it looks as if it includes every gag thought up in every story conference. Whether good, bad, or mild, nothing was thrown out.
    • 46 Metascore
    • 40 Critic Score
    Zardoz
    More confusing than exciting even with a frenetic, shoot‐em‐up climax.
    • 77 Metascore
    • 90 Critic Score
    The Autobiography of Miss Jane Pittman
    Miss Jane Pittman fulfilled my deepest expectations. I did not look for a miracle nor did I view it with malice. That the show will spawn another film depicting other blacks in other experiences is unquestioned. That it was a triumph of and for the enduring strength of black people is also beyond doubt.
  29. The Exorcist
    The care that Mr. Friedkin and Mr. Blatty have taken with the physical production, and with the rhythm of the narrative, which achieves a certain momentum through a lot of fancy, splintery crosscutting, is obviously intended to persuade us to suspend belief. But to what end? To marvel at the extent to which audiences will go to escape boredom by shock and insult.
  30. The Sting
    A lot of the other period details aren't too firmly anchored in time, but the film is so good-natured, so obviously aware of everything it's up to, even its own picturesque frauds, that I opt to go along with it. One forgives its unrelenting efforts to charm, if only because The Sting itself is a kind of con game, devoid of the poetic aspirations that weighed down "Butch Cassidy and the Sundance Kid."
Page:

Top Trailers

See all »
See all trailers »