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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    • 42 Metascore
    • 30 Critic Score
    Stereo (Tile 3B of a CAEE Educational Mosaic)
    Stereo mainly proves that you can't successfully spoof psychology merely by making it dull.
    • 76 Metascore
    • 60 Critic Score
    The Holy Mountain
    Mr. Jodorowsky’s movie is a dazzling, rambling, often incoherent satire on consumerism, militarism and the exploitation of third world cultures by the West. It unfurls like a hallucinogenic daydream.
  3. Westworld
    Crichton the director seems to have had more fun with the film than Crichton the writer, whose screenplay can offer us no better explanation for the sudden, bloody robot rebellion than an epidemic of "central mechanism psychosis."
  4. Robin Hood
    The visual style is charmingly conventional, as gently reassuring as that of a Donald Duck cartoon, sometimes as romantically pretty as an old Silly Symphony.
  5. The Iceman Cometh
    From the opening frames of John Frankenheimer's film version of Eugene O'Neill's The Iceman Cometh, you get the feeling that you're being taken on a guided tour of one of the greatest American plays ever written, instead of seeing a screen adaptation with a life of its own.
  6. The Way We Were
    By, some peculiar alchemy, The Way We Were turns into the kind of compromised claptrap that Hubbell is supposed to be making within the film and that we're meant to think is a sellout. It is.
  7. Charley Varrick
    Siegel has decorated the movie with a lot of colorful bit characters including a chatty, sex‐obsessed old woman, but the action sequences give the film its content as well as style.
  8. The Paper Chase
    It takes a long while for The Paper Chase to disintegrate, and there are some funny, intelligent sequences along the way, but by the end it has melted into a blob of clichés.
  9. Badlands
    One may legitimately debate the validity of Malick's vision, but not, I think, his immense talent. Badlands is a most important and exciting film.
  10. Mean Streets
    No matter how bleak the milieu, no matter how heartbreaking the narrative, some films are so thoroughly, beautifully realized they have a kind of tonic effect that has no relation to the subject matter. Such a film is Mean Streets.
    • 73 Metascore
    • 40 Critic Score
    The Bitter Tears of Petra von Kant
    Clearly, the director was awash in his fantasies about lesbianism.
    • 89 Metascore
    • 40 Critic Score
    The Mother and the Whore
    Watching The Mother and the Whore, you find that you're back in the movie-sludge of the nineteen-fifties, when a number of mediocre French films focused on sub-Sagan characters: numb, semi-paralyzed creatures who hardly had the calories to drag themselves through the day.
    • 80 Metascore
    • 100 Critic Score
    Bang the Drum Slowly
    A simply marvelous cinematic experience.
  14. High Plains Drifter
    Part ghost story, part revenge Western, more than a little silly, and often quite entertaining in a way that may make you wonder if you have lost your good sense. The violence of the film (including a couple of murders by bull-whipping) is continual and explicit. It exalts and delights in a kind of pitiless Old Testament wrath.
    • 83 Metascore
    • 70 Critic Score
    Enter the Dragon
    The picture is expertly made and well‐meshed; it moves like lightning and brims with color.
    • 97 Metascore
    • 100 Critic Score
    American Graffiti
    American Graffiti exists not so much in its individual stories as in its orchestration of many stories, its sense of time and place. Although it is full of the material of fashionable nostalgia, it never exploits nostalgia. In its feeling for movement and music and the vitality of the night—and even in its vision in white—it is oddly closer to some early Fellini than to the recent American past of, say, The Last Picture Show or Summer of '42.
    • 60 Metascore
    • 60 Critic Score
    White Lightning
    A fairly awful movie that keeps producing good things—scenes, performances, moments of insight—that seem connected to better ideas than anything suggested in the film's larger intentions.
  18. The Day of the Jackal
    The details are minutely observed and, to me, just a bit boring.
  19. Cleopatra Jones
    The movie seems to want to be a James Bond sort of adventure in black drag, but it's more reminiscent of Batman.
  20. Cahill U.S. Marshal
    Cahill, United States Marshal was directed by Andrew V. McLaglen and written by Harry Julian Fink and Rita M. Fink. Perhaps recognizing the new limitations of their star, they spend a good deal of time trying to turn a conventional Western into a children-in-peril movie.
    • 59 Metascore
    • 60 Critic Score
    Sssssss
    Toned down, without the final fireworks, the picture would have emerged as a real sleeper for thriller fans, who should catch it anyway. It's certainly original.
    • 55 Metascore
    • 70 Critic Score
    Live and Let Die
    There is a marvelous escape from an alligator farm (deadly reptiles are rather a motif in this movie), a superb collection of grotesque ways of killing, and a fine sense of pace and rhythm.
  23. The Friends of Eddie Coyle
    The Friends of Eddie Coyle is so beautifully acted and so well set (in and around Boston's pool halls, parking lots, side-streets, house trailers and barrooms) that it reminds me a good deal of John Huston's Fat City. It also has that film's ear for the way people talk—for sentences that begin one way and end another, or are stuffed with excess pronouns.
    • 40 Metascore
    • 40 Critic Score
    Scream Blacula Scream
    Despite all its blood-letting, Scream Blacula Scream fails for lack of incident, weakness of invention, insufficient story.
  25. Playtime
    Jacques Tati's most brilliant film, a bracing reminder in this all-too-lazy era that films can occasionally achieve the status of art.
    • 58 Metascore
    • 50 Critic Score
    Dillinger
    In making his debut as a director, Mr. Milius gives us a "Dillinger" that is fascinating for its speed, action and firepower. But as character studies of decidedly interesting types out of explosive history, "Dillinger" shoots blanks most of the time.
    • 56 Metascore
    • 40 Critic Score
    The Legend of Hell House
    If John Hough, the director, and his small, willing cast maintain mild tension during their harried visit to this haunted "hell house," the few chills they provide are of little help.
  28. Pat Garrett & Billy the Kid
    Pat Garrett and Billy the kid suggest either that he (Peckinpah) has begun to take talk about his genius too seriously (it can happen to the best) or that he has fallen in with bad company.
  29. The Offence
    The revelations explode predictably, like the ingredients of a 24-hour cold capsule, but the dramatic impact is real while one is watching it.
    • 66 Metascore
    • 50 Critic Score
    Soylent Green
    Unfortunately, the script, direction and the principals involved in this struggle for survival often are as synthetic as Soylent Green.
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