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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    • 96 Metascore
    • 60 Critic Score
    Rosemary's Baby
    Miss Farrow is quite marvelous, pale, suffering, almost constantly on-screen in a difficult role that requires her to be learning for almost two hours what the audience has guessed from the start...Everyone else is fine, but the movie—although it is pleasant—doesn't quite work on any of its dark or powerful terms.
    • 53 Metascore
    • 50 Critic Score
    Speedway
    This is after all, just another Presley movie — which makes no great use at all of one of the most talented, important and durable performers of our time.
  3. The Party
    It’s the tension between Sellers’s inane tact and the general tastelessness of his surroundings that gives the movie its zing.
    • 79 Metascore
    • 50 Critic Score
    Planet of the Apes
    It is no good at all, but fun, at moments, to watch.
    • 84 Metascore
    • 60 Critic Score
    2001: A Space Odyssey
    The movie is so completely absorbed in its own problems, its use of color and space, its fanatical devotion to science-fiction detail, that its is somewhere between hypnotic and immensely boring.
    • 71 Metascore
    • 80 Critic Score
    Blackbeard's Ghost
    The whole thing, by the way, shines in nifty color. But the real appeal of such wholesomeness is the brisk, unsugary serving, under Robert Stevenson's trim direction, and the consistently adroit humor, which sidesteps slapstick.
    • 65 Metascore
    • 80 Critic Score
    Firecreek
    Firecreek is a good, sturdy and occasionally powerful little Western.
  8. The Graduate
    Funny, outrageous, and touching, The Graduate is a sophisticated film that puts Mr. Nichols and his associates on a level with any of the best satirists working abroad today.
  9. Doctor Dolittle
    Richard Fleischer's direction, is slow and without surprise. Indeed, toward the end it is perfunctory. Things happen mechanically. The actors appear self-conscious and the fantasy is dull.
  10. Valley of the Dolls
    It's an unbelievably hackneyed and mawkish mish-mash of backstage plots and Peyton Place adumbrations in which five women are involved with their assorted egotistical aspirations, love affairs and Seconal pills.
  11. Bedazzled
    Maybe the brand of British banter and buffoonery that Peter Cook and Dudley Moore bombard us with in Stanley Donen's Bedazzled would be very funny if it came in small bursts at not too frequent intervals in an expansive musical comedy or revue. But fired at you exclusively and endlessly for more than an hour and a half in this pretentiously metaphorical picture...it becomes awfully precious and monotonous.
  12. Navajo Joe
    The latest of a succession of super-bloody Westerns made by Italians and Spaniards in Spain with Italian, Spanish and American actors, this time led by Burt Reynolds, as the American titular superhero who dispatches troops of villains singlehanded. Shot in color but decidedly colorless.
    • 90 Metascore
    • 90 Critic Score
    Samurai Rebellion
    Amazing: stirring, subversive and, beneath their dauntingly severe surfaces, sneakily lyrical.
  14. The Fearless Vampire Killers
    This beautifully produced, superbly scenic and excitingly photographed spoof of old-fashioned horror movies is as dismal and dead as a blood-drained corpse.
  15. Cool Hand Luke
    Mr. Newman is excellent, at the top of his sometime erratic form, in the role of this warped and alienated loner whose destiny it is to lose. George Kennedy is powerfully obsessive as the top-dog who handles things his way as effectively and finally as destructively as does the warden or the guards.
  16. Hour of the Gun
    The wonder is that John Sturges, a top director, has made such an obvious, slow film with this cast, and that Mr. Garner should be such a nobody as the legendary Mr. Earp.
  17. Wait Until Dark
    Once this build-up is accomplished—once the sinister plot is launched and the young woman suddenly realizes that she has been duped and is in grave peril—the shock and suspense of the situation hit the audience with almost the same force, I'd imagine, as they evidently hit her. And from here on, the tension is terrific and the melodramatic action is wild as the blind woman uses all her courage and ingenuity to foil her assailants and save her life.
  18. Camelot
    What it basically needed in its transfer to the screen was a drenching in cinema magic to remove all the dull and pretentious patches of realism and romantic cliché that kept it from sparkling in the theater. And that's what we all hoped it would have. Well, it hasn't, alas.
    • 65 Metascore
    • 80 Critic Score
    The Jungle Book
    Based loosely on Rudyard Kipling's Mowgli stories, this glowing little picture should be grand fun for all ages.
  20. Far from the Madding Crowd
    The environment is more impressive than the slow, mawkish drama it contains, and the peasants are more assertive and colorful than the main characters. Scenes of sheepherding, farm gatherings, harvest suppers and assemblies at markets and fairs are more energetic and entertaining than the bloodless confrontations of the principals.
  21. Reflections in a Golden Eye
    The shame of it is that this conclusion is so anticlimactic and banal, because there is so much in the picture that seems to be leading to -- certainly prepares us to expect -- much more.
  22. Bonnie and Clyde
    It is a cheap piece of bald-faced slapstick comedy that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cutups in "Thoroughly Modern Millie."
  23. In the Heat of the Night
    But here Norman Jewison has taken a hard, outspoken script, prepared by Stirling Silliphant from an undistinguished novel by John Ball, and, with stinging performances contributed by Rod Steiger as the chief of police and Sidney Poitier as the detective, he has turned it into a film that has the look and sound of actuality and the pounding pulse of truth.
  24. The Dirty Dozen
    Sadistic, anti-Nazi slaughter mission. Entertaining as a blowtorch.
  25. To Sir, with Love
    A cozy, good-humored and unbelievable little tale.
  26. You Only Live Twice
    Although there's a lot more science-fiction than there is first-vintage James Bond in You Only Live Twice, the fifth in a series of veritable Bond films with Sean Connery, there's enough of the bright and bland bravado of the popular British super-sleuth mixed into this melee of rocket-launching to make it a bag of good Bond fun.
    • 85 Metascore
    • 80 Critic Score
    El Dorado
    The taut guidance of Mr. Hawks, an old frontier hand, the barbed, pungent and frequently funny dialogue, plus some murderous gun forays, add up to crisp entertainment
  28. The War Wagon
    The Wayne-Douglas Western looks like something that the two saddle-sore stars cooked up to kill time and make a little money... It's not a bad picture, just obvious.
  29. Barefoot in the Park
    Gene Saks, directing his first movie, has paced it so unevenly and allowed such glaring mismatches of scenic backgrounds and even of gag sequences that it looks as though his costly picture was made by people who didn't know their way around.
  30. The Way West
    What they have to go through to reach Oregon is nothing to compare to what an old Western fan has to go through to keep from getting up in the middle and walking out.
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