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. Support Your Local Sheriff!
    SUPPORT YOUR LOCAL SHERIFF, a Western period farce about a town-taming supersheriff, is something designed for sensibilities shaped by "Petticoat Junction" and "Green Acres."
  2. The Assassination Bureau
    Like an old electric automobile, the movie rolls forward, without surprises, steadily and almost soundlessly, except for the bomb explosion on the soundtrack. It's never as funny as it looks, but it's a pleasant enough ride if you like your companions.
  3. The Love Bug
    Such a vulnerable movie that if it were a little less sappy, one might feel compelled to protect it, as if it were someone under 7 or over 65 -- that portion of the public for which it is intended.
  4. Where Eagles Dare
    Where Eagles Dare is the ultimate metaphor. It encapsulates human experience into an ordered, comprehensible melodrama that is both absurd and entertaining.
  5. Sweet Charity
    Sweet Charity, the film adaptation of the Broadway musical, has been so enlarged and so inflated that it has become another maximal movie: a long, noisy and, finally, dim imitation of its source material.
    • 66 Metascore
    • 40 Critic Score
    Dracula Has Risen from the Grave
    Dracula Has Risen From The Grave. Yes, again. And judging by this junky British film in color—asplatter with catchup or paint or whatever, to simulate the Count's favorite color—he can descend again.
    • 75 Metascore
    • 60 Critic Score
    Black Girl (1966)
    [Mr. Sembène's] sadly pensive story of a young Dakar girl hired as a governess for a white couple's three children appears unevenly weighted in favor of Mr. Sembène's dolorous thesis.
    • 77 Metascore
    • 80 Critic Score
    Monterey Pop
    It is possible that the way to a new kind of musical—using some of the talent and energy of what is still the most lively contemporary medium—may begin with just this kind of musical performance documentary.
    • 67 Metascore
    • 70 Critic Score
    The Night They Raided Minsky's
    Unlike "Funny Girl," the screenplay is rich, not in stereotypes (mothers, accents), but in anecdotes, and there is a wonderful confrontation between Jason Robards, as a slick, sleazy burlesque entertainer, and the owner of a restaurant, "a man from principle," over an order of bagels, which are thrown, one by one, to the floor, with rage and elegance.
    • 90 Metascore
    • 60 Critic Score
    Red Beard
    Red Beard is well meant and well made, no question about it. But it unfolds familiarly and, at 185 minutes, practically forever.
    • 64 Metascore
    • 70 Critic Score
    Chitty Chitty Bang Bang
    A fast, dense, friendly children's musical, with something of the joys of singing together on a team bus on the way to a game.
  12. Oliver!
    The focus of the movie is so wide, and the logistics of the production so heavy, that Oliver himself, dutifully played by 9-year-old Mark Lester, gets flattened out and almost lost, as if he had been run over by a studio bulldozer.
    • 88 Metascore
    • 90 Critic Score
    Faces
    A really important movie about the American class, generation and marriage abyss.
    • 79 Metascore
    • 70 Critic Score
    Yellow Submarine
    Yellow Submarine is a family movie in the truest sense.
    • 58 Metascore
    • 70 Critic Score
    The Split
    That first hour, although it is not too well or tightly written, is extremely well directed, by Gordon Flemyng, with fine chases on the order of "Bullitt" and meaningful uses of the split screen when the credits are on.
    • 49 Metascore
    • 60 Critic Score
    Ice Station Zebra
    Ice Station Zebra is a fairly tight, exciting, Saturday night adventure story that suddenly goes all muddy in its crises, so that at two crucial points—when water comes rushing into a submarine under the polar ice cap, and when somebody is substituting something for the object everybody is searching for—it is very difficult to know what is going on, or who knows what about it. It doesn't make much difference, though.
    • 81 Metascore
    • 90 Critic Score
    Bullitt
    A terrific movie, just right for Steve McQueen—fast, well acted, written the way people talk.
    • 66 Metascore
    • 30 Critic Score
    The Boston Strangler
    THE BOSTON STRANGLER represents an incredible collapse of taste, judgment, decency, prose, insight, journalism and movie technique, and yet—through certain prurient options that it does not take—it is not quite the popular exploitation film that one might think. It is as though someone had gone out to do a serious piece of reporting and come up with 4,000 clippings from a sensationalist tabloid.
    • 51 Metascore
    • 40 Critic Score
    Barbarella
    The movie, written by Terry Southern and seven other writers and based upon a comic strip, rapidly becomes a special kind of mess. All the gadgetry of science fiction—which is not really science fiction, since it has no poetry or logic—is turned to all kinds of jokes, which are not jokes, but hard-breathing, sadistic thrashings, mainly at the expense of Barbarella, and of women.
    • 59 Metascore
    • 30 Critic Score
    Finian's Rainbow
    The cast is full of children who act as artificially and insincerely as the whole enterprise, directed by Francis Ford Coppola, would suggest.
    • 69 Metascore
    • 80 Critic Score
    Romeo and Juliet
    A lovely, sensitive, friendly popularization of the play.
    • 51 Metascore
    • 80 Critic Score
    Shalako
    Lots of shooting, galloping, terse dialogue—it is the perfect movie to see in a two-theater town on a Saturday night.
  23. Night of the Living Dead
    Night of the Living Dead is a grainy little movie acted by what appear to be nonprofessional actors, who are besieged in a farm house by some other nonprofessional actors who stagger around, stiff-legged, pretending to be flesh-eating ghouls.
  24. Charly
    I'm told by someone whose opinion I respect that the novel was very moving and very sad. The movie is not. It's science-fiction without gadgets, a horror film without thrills.
  25. Who's That Knocking at My Door?
    The director, who also wrote the original story and screenplay, hasn't succeeded in making a drama that is really much more aware than the characters themselves. The result is a movie that is as precise—and as small—as a contact print.
    • 74 Metascore
    • 80 Critic Score
    Rachel, Rachel
    Rachel, Rachel...is a real Movie movie, a little sappy at moments, but the best written, most seriously acted American movie in a long time.
    • 35 Metascore
    • 10 Critic Score
    Inspector Clouseau
    A comedy so uninspired, so relentlessly awful that one occasionally laughs for it—more like a moo or a snort or a gagging noise—just to interrupt it a little or help it out of the room.
    • 77 Metascore
    • 80 Critic Score
    The Story of a Three-Day Pass
    The film is a kind of gentle cross between Hiroshima Mon Amour and Guess Who's Coming to Dinner—a little hard to imagine, it is true, but less pretentious than the first and less false than the second. If you like one of them I think you are obliged to like all three.
    • 66 Metascore
    • 70 Critic Score
    The Thomas Crown Affair
    An ordinary, not wonderful, but highly enjoyable movie.
  30. King Kong Escapes
    The Toho moviemakers are quite good in building miniature sets, but much of the process photography—matching the miniatures with the full-scale shots—is just bad.
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