The New Yorker's Scores

  • Movies
  • TV
For 1,602 reviews, this publication has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Osama
Lowest review score: 0 Bio-Dome
Score distribution:
1602 movie reviews
  1. This movie makes one grateful that a serious European art cinema still exists. [15 April 2002, p. 88]
    • The New Yorker
  2. Judged both as reporting and as art -- many of Wiseman's films have a poetic density of structure -- it is a series without parallel in movie history. [11 Feb 2002, p. 92]
    • The New Yorker
  3. The movie is an outright miracle. [8 March 2004, p. 92]
    • The New Yorker
  4. [Willis’s] heavy trudge on a game leg suggests weariness of historical dimensions; the harmonious mysteries of the urban landscape are themselves the essence of his art. A brilliant sequence of musicians at work gets away from familiar modes of filmed performance and into the depths of inner experience.
  5. That stance of hers will outrage many viewers, as Verhoeven intends it to, but the question of whether Elle is pernicious nonsense or an excruciating black comedy is brushed aside in Huppert’s demonstration of sangfroid. This, she shows us, is how to stand up for yourself in style. She’s the best.
  6. I have seen The Host twice and have every intention of watching it again.
  7. Schnabel’s movie, based on the calm and exquisite little book that Bauby wrote in the hospital, is a gloriously unlocked experience, with some of the freest and most creative uses of the camera and some of the most daring, cruel, and heartbreaking emotional explorations that have appeared in recent movies.
  8. Fruitvale Station is a confident, touching, and, finally, shattering directorial début.
  9. Almodóvar has brought an extraordinary calm to the surface of his work. The imagery is smooth and beautiful, the colors are soft-hued and blended. Past and present flow together; everything seems touched with a subdued and melancholy magic. [25 November 2002, p. 108]
    • The New Yorker
  10. Hawks weaves brawny romance and humor and a man’s-man sort of heartbreak into his tribute to the ideal of vocation.
  11. Essentially a romantic adventure story with politics in the background--an old-fashioned movie, I suppose, but exciting and stunningly well made.
  12. Look closely at Johansson...an immaculate period performance. [15 December 2003, p. 119]
    • The New Yorker
  13. What Park has done is resurrect not just the spirit but, as it were, the bodily science of early comedy. Like Chuck Jones, and, further back, like Buster Keaton and Harold Lloyd, Park is unafraid of the formulaic--—of bops on the head, of the unattainable beloved, of gadgetry gone awry--because he sees what beauty there can be in minor, elaborate variations on a basic theme.
  14. Has a beautifully modulated sadness that's almost musical. Eastwood once made a movie about Charlie Parker ("Bird"), but this picture has the smoothly melancholic tones of Coleman Hawkins at his greatest.
  15. The result is clean, delirious, and, yes, speedy—the best big-vehicle-in-peril movie since Clouzot's "The Wages of Fear."
  16. The movie is stunningly intelligent; the concluding passages, in which the game abruptly ends for both men, are frightening and, finally, very moving.
  17. Jenkins burrows deep into his characters’ pain-seared memories, creating ferociously restrained performances and confrontational yet tender images that seem wrenched from his very core.
  18. I've rarely seen so selfless a collection of performances and, in a war movie, so general an absence of rhetoric or guff. [25 & 31 Dec 2001, p. 127]
    • The New Yorker
  19. For the first, and maybe the only, time this year, you are in the hands of a master.
  20. Nothing has exploded on the screen in recent years as violently as that mad quarrel in a tiny room - a room that is Israel itself. [16 April 2012, p.86]
    • The New Yorker
  21. What follows is astounding: a thirty-minute fight, which, in its bitterness, complication, and psychological revelation, recalls episodes from Ingmar Bergman's "Scenes from a Marriage." [27 May 2013, p.86]
    • The New Yorker
  22. Happy Hour, a work of distinctly modern cinema, reaches deep into the classic traditions of melodrama—along with its coincidences and its violent contrasts—to revive a latent power for grand-scale observation through painfully close contact with the agonizing intimacies of contemporary life.
  23. The most familiar movie in the world is still fresh; it has so many little busy corners to nestle in... Casablanca is the most sociable, the most companionable film ever made. Life as an endless party.
  24. The late director Aleksei Guerman’s last film is a grandly arbitrary carnival of neo-medieval depravity. It’s also a mudpunk allegory of Russian barbarism and backwardness.
    • 86 Metascore
    • 100 Critic Score
    With breathtaking assurance, the movie veers from psychological-thriller suspense to goofball comedy to icy satire: it's Patricia Highsmith meets Monty Python meets Nathaniel West. [20 Apr 1992, p.81]
    • The New Yorker
  25. Small-scaled and limited, Capote is nevertheless the most intelligent, detailed, and absorbing film ever made about a writer's working method and character--in this case, a mixed quiver of strength, guile, malice, and mendacity.
  26. A first-rate piece of work by a director who's daring and agile... It's heaven – alive in a way that movies rarely are. [9 Jan 1989]
    • The New Yorker
  27. The backbone of Collin’s film is the sole audio interview with Helen Morgan, made in 1996, shortly before her death. The story that she tells combines with the story that Collin builds around it to provide a revelatory and moving portrait of a great musician.
  28. A perfect family movie, a perfect date movie, and one of the most eye-ravishing documentaries ever made.
  29. An enthralling and powerfully eccentric American epic.

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