The New York Times' Scores

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For 20,268 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 4.3 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 20268
  2. Mixed: 8,427 out of 20268
  3. Negative: 2,464 out of 20268
20268 movie reviews
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  1. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    The ultimate touch of ghoulish humor is when we see the bomb actually going off, dropped on some point in Russia, and a jazzy sound track comes in with a cheerful melodic rendition of "We'll Meet Again Some Sunny Day." Somehow, to me, it isn't funny. It is malefic and sick.
    • 42 Metascore
    • 40 Critic Score
    Children of the Damned
    A dull, pretentious successor to that marvelous little chiller of several seasons ago, "Village of the Damned." What a comedown.
  3. The Sword in the Stone
    The picture makes an eye-filling package of rollicking fun and thoughtful common sense. The humor sparkles with real, knowing sophistication.
  4. America America
    Mr. Kazan catches the poetry of immigrants arriving in America. With some masterfully authentic staging and a fitly hard-focus camera, he gives us as fine an understanding of that drama as the screen has ever had.
  5. Charade
    There's a lot to be said for it as a fast-moving, urbane entertainment in the comedy-mystery vein.
  6. High and Low
    A sizzling, artistic crackerjack and a model of its genre, pegged on a harassed man's moral decision, laced with firm characterizations and tingling detail and finally attaining an incredibly colorful crescendo of microscopic police sleuthing.
    • 87 Metascore
    • 90 Critic Score
    The Incredible Journey
    About as gentle, warm and lovely a color movie as any pet owner could wish at least, for the kids.
  8. McLintock!
    If the film doesn't quite come off, it is not for lack of effort. Mr. Wayne is in there swinging all the way, as a reactionary old cattle baron coping with encroaching homesteaders, discontented Indians, a marriageable daughter and a rebellious wife.
  9. It's a Mad, Mad, Mad, Mad World
    It's a wonderfully crazy and colorful collection of "chase" comedy, so crowded with plot and people that it almost splits the seams of its huge Cinerama packing and its 3-hour-and-12-minute length.
  10. Knife in the Water
    Using his naturalistic camera as though it were an outsized microscope set up to observe the odd behavior of three people completely isolated for 24 hours aboard a weekend pleasure boat, Mr. Polanski evolves a cryptic drama that has wry humor, a thread of suspense, a dash of ugly and corruscating evil — and also a measure of tedium because of the purposeful monotony of its pace.
  11. Tom Jones
    One of the wildest, bawdiest and funniest comedies that a refreshingly agile filmmaker has ever brought to the screen.
  12. The V.I.P.s
    The V.I.P.s is, gratifyingly, a lively, engrossing romantic film cut to the always serviceable pattern of the old multi-character Grand Hotel, and some of the other people in it are even more exciting than the two top stars.
  13. The Haunting
    So it looks as though this film simply makes more goose pimples than sense, which is rather surprising and disappointing for a picture with two such actresses, who are very good all the way through it, and produced and directed by the able Robert Wise.
  14. Lord of the Flies
    A curiously flat and fragmentary visualization of the original.
  15. The Thrill of It All
    I don't want to give you the impression that The Thrill of It All is a great film. I just want to tell you it is loaded with good, clean American laughs.
  16. The Great Escape
    There are a few moments when Richard Attenborough as the chief engineer of the whole project demonstrates some impressive strength and poise. But for much longer than is artful or essential, The Great Escape grinds out its tormenting story without a peek beneath the surface of any man, without a real sense of human involvement. It's a strictly mechanical adventure with make-believe men.
  17. King Kong vs. Godzilla
    The one mild surprise of this cheap reprise of earlier Hollywood and Japanese horror films is the ineptitude of its fakery.
  18. 8½
    It has no more plot than a horse race, no more order than a pinball machine, and it bounces around on several levels of consciousness, dreams and memories as it details a man's rather casual psychoanalysis of himself. But it sets up a labyrinthine ego for the daring and thoughtful to explore, and it harbors some elegant treasures of wit and satire along the way.
    • 69 Metascore
    • 50 Critic Score
    Jason and the Argonauts
    This absurd, unwieldy adventure — if that's the word—is no worse, but certainly no better, than most of its kind.
  20. The Mouse on the Moon
    Sensitive music by Mr. Pintoff and some wonderfully wry dialogue, subtly laced with motivations, top off this animated jewel.
  21. Cleopatra
    Forget the length of time it took to make it and all the tattle of troubles they had, including the behavior of two of its spotlighted stars. The memorable thing about this picture is that it is a surpassing entertainment, one of the great epic films of our day. By virtue of brilliant staging, Mr. Mankiewicz keeps this well-known tale moving with visual excitements that increase the dramatic flow and give extraordinary insights into the characters.
    • 64 Metascore
    • 70 Critic Score
    Donovan's Reef
    This running account of Pier 6 brawls, miscegenation, romance and religion that disrupt the idyllic life on a post-World War II South Sea island paradise is sheer contrivance effected in hearty, fun-loving, truly infectious style.
  23. Irma la Douce
    Mr. Lemmon is little short of brilliant — vigorous, incisive and deft.
  24. Hud
    Ugly, powerful drama. [28 May 1963]
    • The New York Times
  25. Dr. No
    This lively, amusing picture is not to be taken seriously as realistic fiction or even art, any more than the works of Mr. Fleming are to be taken as long-hair literature. It is strictly a tinseled action-thriller, spiked with a mystery of a sort. And, if you are clever, you will see it as a spoof of science-fiction and sex.
  26. Sanjuro
    This is a mischievous, sly, good-humored presentation of a crusty old samurai caught between two groups of plain incompetents, with a playful satiric point.
  27. The Birds
    Making a terrifying menace out of what is assumed to be one of nature's most innocent creatures and one of man's most melodious friends, Mr. Hitchcock and his associates have constructed a horror film that should raise the hackles on the most courageous and put goose-pimples on the toughest hide.
  28. How the West Was Won
    With little or no imagination and, indeed, with no pictorial style, despite the fact that the three directors were Henry Hathaway, George Marshall and John Ford, they have fashioned a lot of random episodes, horribly written by James Webb, into a mat of outdoor adventure vignettes that tell you nothing of how the West was really won.
    • 47 Metascore
    • 60 Critic Score
    The Young Racers
    Somehow, as the film progresses, its superficial protagonists grow more complex and assume added dimensions, until they unexpectedly emerge as interesting people.The result, though not a picture that many filmgoers would take special pains to see, still provides an agreeable hour for those who do. It is enough to make a viewer wonder what Mr. Corman might be able to accomplish with a better project and adequate means.
  30. Days of Wine and Roses
    It is a commanding picture, and it is extremely well played by Mr. Lemmon and Miss Remick, who spare themselves none of the shameful, painful scenes. But for all their brilliant performing and the taut direction of Blake Edwards, they do not bring two pitiful characters to complete and overpowering life. [18 Jan 1963, p.7]
    • The New York Times
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