The New Yorker's Scores

  • Movies
  • TV
For 1,942 reviews, this publication has graded:
  • 38% higher than the average critic
  • 1% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Secret in Their Eyes
Lowest review score: 0 Bio-Dome
Score distribution:
1942 movie reviews
  1. The Zellner brothers, David and Nathan, wrote and directed this Western near-parody; though methodically conceived and occasionally tense, it’s slight and sluggish.
  2. The script, by Robert Rodat, skips around in time to elucidate the amped-up drama, but it never gets close to Berg’s own character. The film, directed by Ben Lewin, strongly suggests that Berg was gay, but leaves the theme undeveloped.
  3. Here’s the thing, though. Hereditary is far more upsetting than it is frightening, and I would hesitate to recommend it to the readily traumatized.
  4. The film, which kicks off in a flurry of visual tricks and narrative switchbacks, grows plainer in the later stages, and its concluding mood is surprisingly sad; these kids, who yearned to be something special, turned out to be anything but.
  5. The most surprising aspect of the film is its suburban mildness, plus the hapless charm of its hero, Enn (Alex Sharp).
  6. How keenly you respond to it will depend on how tempted you are by the salad days of Solo. Personally, I preferred him in “The Force Awakens” (2015), at the other end of his career.
  7. They have pruned, or purged, the drama until it runs just over an hour and a half, and, in so doing, mislaid its nervous languor.
  8. Nobody, not even a hard-core Schrader fan, could claim that First Reformed makes for easy listening, or viewing. If anything, it outstrips its predecessors in severity.
  9. Filmworker amounts to yet another rite of devotion in the ongoing cult of Kubrick—a cult that worked its power not just on Vitali but on all of modern cinema.
  10. Avowals of literary ambitions and familial devotion, stories of death and faith, and a bold dramatic structure—based on flashbacks and leaps forward in time—set the vagaries of work and love on the firm footing of destiny.
  11. Beast is at its best when Buckley is at her most undaunted, showing us Moll at her most extreme — when she lies down by moonlight, for instance, in the shallow hole where a murder victim was found, beside a potato field.
  12. The sad fact, however, is that, as Tully proceeds, it tumbles into clunkiness.
  13. Let the Sunshine In is said to be loosely based on Roland Barthes’s “A Lover’s Discourse” — very loosely, I would argue, in the same way that “The Texas Chain Saw Massacre” was based on a branch of Home Depot. As for Claire Denis, anybody new to her methods will be addled by her breaking and stretching of the rules.
  14. The plot consists of bits: a fiery slugfest, a pause for bonding, a quick weep, and a patch of jokey repartee, before the slugging returns. Acts of sacrifice are dotted throughout, and we are urged to applaud the burgeoning fellowship of those who unite against Thanos, but, in truth, it’s every man for himself.
  15. The exaggerated, unambiguous expressivity and the connect-the-dots definitions of character (featuring pat confessions and reheated memories) reflect the closed-off academicism of acting workshops and screenplay pitches rather than the open-ended complexities of life.
  16. Serge Bozon’s sharply political comedy—a giddily imaginative reworking of Robert Louis Stevenson’s classic tale—stars Isabelle Huppert, who revels in its sly blend of dissonant humor, intellectual fervor, and macabre violence.
  17. We are left to rue This Is Our Land as an opportunity missed, and to wonder how else the tale could have been told.
  18. The dramatic fusion of physical and administrative power captures nothing less than the bloody forging of modernity.
  19. Dumont films Joan’s spiritual conflicts and confrontations with playful exuberance but avoids frivolity; the ardent actors infuse Joan’s spirit of revolt with the eternal passions of youth.
  20. That is why, of the two tales, A Quiet Place is not just more enjoyable but, alien invaders notwithstanding, more coherently plausible, revelling in the logic of well-grounded terror.
  21. Some strains of this fearsome film, to be honest, feel overworked and arch. When Joe finds his white-haired mother sitting in front of the TV, for example, does it have to be showing “Psycho”?
  22. Buscemi is the least grass-fed of actors, meant for the rat-run of city streets, and, if I didn’t quite believe in him as a country guy, I believed even less in Chloë Sevigny as a cynical jockey with a set of broken bones. But Plummer, who recently played the kidnapped John Paul Getty III, in “All the Money in the World,” grounds and tethers the movie, as an unclaimed soul with barely a dollar to his name.
  23. I saw the film in IMAX, and a week later I’m still waiting for the safe return of my optic nerves, but it was the meagre emotional charge that shocked me most. Toward the end, as in many Spielberg movies, there are tears, but, for once, they feel unearned.
  24. The movie’s panoramic cityscapes teem with the gritty details of emotional life: romance and chores, hope and despair and loss, bitter resentments and rowdy reckonings with mortality.
  25. The cracking of the mystery, at the conclusion of Gemini, is daft and unsatisfying, but no matter.
  26. The performance that lingers, once the tale is told, is that of Jay Pharoah as Nate, a fellow-patient on Sawyer’s ward, who has furtively kept hold of his cell phone (she was deprived of hers), and who lends the film an understated calm.
  27. That is a beautiful riff, worthy of Chaplin, on the inverted values of a world gone to rot, whereas the gags in Anderson’s film are more about themselves, delighting in the literal and the overparticular.
  28. This movie is a smooch-free zone, and the arc described by its leading lady, proud and nerveless, is an elegant one: she starts by taking a punch to the face, without malice, from another woman, and, at the climax, delivers one herself—unmanning her male opponent with a decisive thump to the groin. If Lara Croft weren’t already a role model, she is now.
  29. Every gag is girded with fear. The humor is so black that it might have been pumped out of the ground.
  30. [Hong's] tightrope-long takes of scenes filmed in settings ranging from the picturesque to the banal (restaurants and apartments, café terraces, Mediterranean beaches) have an intricate dramatic construction, replete with glittering asides and wondrous coincidences, to rival that of a Hollywood classic.

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