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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  1. Deliverance
    An action melodrama that doesn't trust its action to speak louder than words.
  2. Late Spring (1949)
    Ozu's recognition of the wall of skin separating the mind of the character from the viewer is an integral part of his philosophy. It amounts to a profound respect for their privacy, for the mystery of their emotions. Because of this—not in spite of this—his films, of which Late Spring is one of the finest, are so moving.
    • 52 Metascore
    • 60 Critic Score
    Joe Kidd
    For perhaps its first half-hour, John Sturges's new Western, Joe Kidd, looks surprisingly good. It seems restrained, relaxed, unfashionably out of the current mode in its commitment to people and horses rather than to sadistic monsters and machines. Nothing remarkable, but modestly decent—a feeling that persists, with continually diminishing assurance, almost until the climax, when everything is thrown away in a flash of false theatrics, foolish symbolism and what I suspect is sloppy editing.
  4. Le Samouraï
    Delon is fine and the movie has the cool delicacy and preci sion one ordinarily associates with something no more philosophical than a Swiss watch. Melville, however, is a philosopher and “The Godson” is as much parable as fascinating melodrama.
    • 48 Metascore
    • 70 Critic Score
    Hannie Caulder
    Hannie Caulder, which begins cruel and comic, gradually becomes gentler and more serious; and by the time its spirit of outrage has subsided into something like elegy, the film has turned into a fairly moving study of what it means to be cursed by having to pursue a mission instead of a life.
    • 49 Metascore
    • 50 Critic Score
    Conquest of the Planet of the Apes
    It's not bad, as apes and 20th Century-Fox go, at least hand in hand.
  7. The Candidate
    One of the few good, truly funny American political comedies ever made.
  8. Frenzy
    Watching Frenzy is like riding a roller coaster in total darkness. You can never be quite sure when you're going to start a terrifying new descent or take a sudden turn to the left or right. The agony is exquisite.
    • 61 Metascore
    • 80 Critic Score
    Boxcar Bertha
    The thoughtful, ironic script by Joyce H. Corrington and John William Corrington thins only toward the middle and the whole thing has been beautifully directed by Mar tin Scorsese, who really comes into his own here.
  10. Duck, You Sucker
    The resultant mix of dreaminess, violence and politics is a bit unwieldy, but it sticks to your ribs. You'll savor pieces of Duck, You Sucker in your head much later: the mark of a work by a true voluptuary, the overspill in whose craft comes as much from enthusiasm as arrogance.
    • 62 Metascore
    • 50 Critic Score
    Twins of Evil
    The rest of the costumed crew, led by that veteran horror hand, Peter Cushing, as the twins' witchhunting uncle, who chases the fanged Count and his retinue, hardly give Twins of Evil a good name.
  12. The Other
    Thomas Tryon, the actor (The Cardinal), wrote the screen adaptation of his best-selling novel, which is in almost every way more precise, more complex and less ambiguous than the "Summer of '35" sort of movie Robert Mulligan has made from it.
    • 75 Metascore
    • 70 Critic Score
    Jeremiah Johnson
    There are momoments of great beauty and terror and deeply earned pathos. There are as well such not-so-incidental pleasures as John Rubinstein's lovely and serviceable musical score, and a cast of excellent supporting actors.
  14. Play It Again, Sam
    Even when he's not in an anarchic mood, Woody Allen is still the funniest neurotic in American movies today and Play It Again, Sam, directed by Herbert Ross from Allen's screenplay, will probably remain the funniest new movie around this summer until another Allen work shows up.
  15. Buck and the Preacher
    Buck and the Preacher, Sidney Poitier's first film as director as well as star, is a loose, amiable, post-Civil War Western with a firm though not especially severe Black Conscience.
  16. Fritz the Cat
    A low, bawdy cartoon feature that hasn't forgotten that there still can be something uniquely funny in animated films that exaggerate human actions and emotions (in this case, love, rage, compassion and, especially, lust) to the extraordinary extents available only in cartoons.
  17. The Godfather
    One of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment. [16 Mar 1972]
    • The New York Times
  18. Slaughterhouse-Five
    A wild, noisy, sometimes very funny film that eventually becomes as unstuck in its own exuberance as its hero, Billy Pilgrim, the Illium, N. Y., optometrist, is unstuck in time.
    • 100 Metascore
    • 100 Critic Score
    Tokyo Story
    Even on the basis of a limited exposure to his work, the story seems archetypal Ozu.
  20. Frogs
    Frogs, which is not to be confused with The Birds for an instant, is an end-of-the-world junk movie, photographed rather prettily in Florida and acted by Milland as if he were sight-reading random passages from the dictionary.
  21. Silent Running
    Silent Running is no jerry-built science fiction film, but it's a little too simple-minded to be consistently entertaining.
  22. What's Up, Doc?
    It has a soul of its own, which reflects the changes, for good and evil, in American life in the last 40 years.
    • 80 Metascore
    • 80 Critic Score
    Cabaret
    Cabaret is one of those immensely gratifying imperfect works in which from beginning to end you can literally feel a movie coming to life.
  24. Pocket Money
    A fragmented, far from‐great movie, and it won't change cinema history, but in its own odd fashion it celebrates humdrum lives without ever resorting to patronizing artifice.
  25. The Cowboys
    So flecked with minor dishonesties that you come to recognize it as a sort of Formica Western, something that amounts to a parody of the real thing.
  26. Dirty Harry
    The pleasures of this movie are abundant. The pacing is as swift as a speeding bullet. There are wonderfully evoked lived-in San Francisco locations... And there are splendid set pieces that showcase the perpetually-underrated Don Siegel's great skill a director. This film is efficient, unpretentious and much wittier and more stylish than your average cop movie.
  27. Straw Dogs
    It is an intelligent movie, but interesting only in the context of his other works.
  28. Mary, Queen of Scots
    Because both Miss Redgrave and Miss. Jackson possess identifiable intelligence, Mary, Queen of Scots is not as difficult to sit through as some bad movies I can think of. It's just solemn, well-groomed and dumb.
    • 55 Metascore
    • 50 Critic Score
    Kidnapped
    Except for the locations, which are real, and the color, which is color, the whole thing suggests the dim listlessness of the late late show edging toward the catatonia of 3 A.M.
  30. Minnie and Moskowitz
    Mr. Cassavetes's use of exaggerated slapstick gestures to underscore the loneliness and fears of his characters is more interesting in theory than funny or moving in actual fact.
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