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. Husbands
    Like Faces, which was rambling and funny and accurate, and which I admired, the new film demonstrates a concern for panicky, inarticulate squares that is so unpatronizing that it comes close to being reverential in a solemnly religious sense. Husbands, however, also puts one's tolerance of simulated cinéma vérité to the test. It is almost unbearably long.
  2. Scrooge
    It is absurd, sentimental, pretty, never quite as funny as it intends to be, but quite acceptable, if only as a seasonal ritual.
  3. The Private Life of Sherlock Holmes
    The Private Life of Sherlock Holmes is comparatively mild Billy Wilder and rather daring Sherlock Holmes, not a perfect mix, perhaps, but a fond and entertaining one.
  4. The Conformist
    The movie is perfectly cast, from Trintignant and on down, including Pierre Clementi, who appears briefly as the wicked young man who makes a play for the young Marcello. The Conformist is flawed, perhaps, but those very flaws may make it Bertolucci's first commercially popular film. (Review of Original Release)
    • 63 Metascore
    • 70 Critic Score
    The Vampire Lovers
    The Vampire Lovers, praise be, does manage to be a departure from a hackneyed, bloody norm. It also is professionally directed, opulently staged and sexy to boot.
  6. The Great White Hope
    The Great White Hope is one of those liberal, well-meaning, fervently uncontroversial works that pretend to tackle contemporary problems by finding analogies at a safe remove in history.
  7. Tora! Tora! Tora!
    From the moment you read the ads for Tora! Tora! Tora! ("The Most Spectacular Film Ever Made!”), you are aware that you're in the presence of a film possessed by a lack of imagination so singular that it amounts to a death wish.
    • 85 Metascore
    • 50 Critic Score
    Five Easy Pieces
    At first appears to be rich with a quantity of felt life, but on reflection seems both more carefully studied and more coldly casual than profoundly understood.
  9. The Wild Child
    Unlike any other film Truffaut has ever made, yet only Truffaut could have made it. It is a lovely, pure film. And it may be a classic.
  10. La Piscine
    Pretty people behaving poorly in beautiful settings is something we don’t see as much of in cinema as we used to. This is a master class in the subgenre, and one of unusual depth.
    • tbd Metascore
    • 50 Critic Score
    A Bullet for Pretty Boy
    The film looks a little as if they had taken the members of the cast of, say, "Beach Blanket Bingo" and put them in costume and given them old cars to drive and told them to play it for real. For real it isn't.
  12. Take the Money and Run
    Allen has made a movie that is, in effect, a feature-length, two-reel comedy—something very special and eccentric and funny.
  13. Catch-22
    The most moving, the most intelligent, the most humane--oh, to hell with it!--it's the best American film I've seen this year.
    • 50 Metascore
    • 50 Critic Score
    Kelly's Heroes
    Not without its problems. But it is very largely without viable solutions to them. Not without resources—it is full of resources, natural and mostly untapped—but with out that resourcefulness necessary to persuade us that comedy, any comedy, is worth the time of day.
  15. Beyond the Valley of the Dolls
    Any movie that Jacqueline Susann thinks would damage her reputation as a writer cannot be all bad. Beyond the Valley of the Dolls isn't—which is not to say it is any good.
    • 62 Metascore
    • 80 Critic Score
    Two Mules for Sister Sara
    I'm not sure that it is a great movie, but it is very good, and it stays and grows in the mind the way only movies of exceptional narrative intelligence do.
    • 60 Metascore
    • 30 Critic Score
    Watermelon Man
    Watermelon Man demands complete surrender and gives absolutely nothing in return except embarrassment.
    • 58 Metascore
    • 50 Critic Score
    Getting Straight
    A brilliant, mercurial performance by Elliott Gould steadies and vivifies but cannot save Getting Straight. Even with such sideline brilliance as the sad-funny performance of young Robert F. Lyons almost matching Gould's, the picture ends as a cop-out of its own professed principles and initial honesty.
    • 72 Metascore
    • 70 Critic Score
    Let It Be
    The very helter‐skelter, unstudied nature of the picture provides a revealing close‐up of the world's most famous quartet, playing, relaxing and chatting.
  20. A Man Called Horse
    Silverstein has elected to tell the story of Lord John's survival largely in terms of Sioux rituals relating to such things as wars, weddings, deaths, and even spiritual deliverance. I must admit that I found all this interesting, although I'm the sort of Indian buff and tourist who gets a kick out of watching contemporary Navajos do their rain dances in tennis shoes.
    • 73 Metascore
    • 80 Critic Score
    Mandabi
    As a comedy dealing with life's miseries, it displays a controlled sophistication in the telling that gives it a feeling of almost classic directness and simplicity.
    • 69 Metascore
    • 80 Critic Score
    Bloody Mama
    What hoists the picture into real substance toward the home stretch is an eerie and fascinating by credible sequence with the Barker clan holding as captive a blindfolded millionaire, strongly played by Pat Hingle.
  23. The Boys in the Band
    Crowley has a good, minor talent for comedy-of-insult, and for creating enough interest, by way of small character revelations, to maintain minimum suspense.
  24. Airport
    Airport, the film version of Arthur Hailey's novel, is the sort of movie most people mean when they say Hollywood doesn't make movies the way it used to. This isn't just because Airport resembles any number of old Grand Hotel movies. Rather it's because it evokes our nostalgic feelings, not only for the innocence of old movies but also for the innocent old times in which we saw them.
  25. Patton
    A huge, initially ambivalent but finally adoring, Pop portrait of one of the most brilliant and outrageous American military figures of the last one hundred years.
    • 42 Metascore
    • 70 Critic Score
    The Magic Christian
    A superb realization of the book.
    • 82 Metascore
    • 80 Critic Score
    The Honeymoon Killers
    Within the limits of its type it is one of the best and, curiously, most beautiful American movies in recent years.
    • 62 Metascore
    • 40 Critic Score
    The Molly Maguires
    Realism without much reality, enormous care for the wrong details, historical accuracy and spineless dramaturgy, The Molly Maguires vacillates among intentions and settles finally for ponderous spectacle and easy irony.
    • 80 Metascore
    • 60 Critic Score
    MASH
    Although it is impudent, bold, and often very funny, it lacks the sense of order (even in the midst of disorder) that seems the special province of successful comedy.
    • 66 Metascore
    • 70 Critic Score
    The Reivers
    Mark Rydell's direction conveys a zestful spirit, as do the film's turn-of-the-century look and picaresque minor characters.
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