The New Yorker's Scores

  • Movies
  • TV
For 1,302 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 1.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Army of Shadows
Lowest review score: 0 The Da Vinci Code
Score distribution:
1,302 movie reviews
  1. Coraline is a beautifully designed, rather scary answered-prayer story.
  2. Up
    The movie is packed with lovely jokes, some of them funny in inexplicable ways.
  3. However moody, though, Two Lovers didn't strike me as a downer, for the simple reason that it wells with sights and sounds that are guaranteed to lift, not sink, the spirits.
  4. He [Bahrani] encloses his two characters in a motel room, but he doesn't make them buddies, as a Hollywood movie would. They are characterized in great detail as separate beings.
  5. Infinitely charming new romantic comedy.
  6. Consume with great caution, and with joy.
  7. Apatow’s richest, most complicated movie yet--a summing up of his feelings about comedy and its relation to the rest of existence.
  8. Some of the episodes are ripely satirical, others almost heartbreaking. Allison Janney appears as a coarse drunk who taunts her kids; Maggie Gyllenhaal is a pushy New Age mom whose aggressive virtue saps the strength of everyone around her.
  9. For many of this movie's likely viewers, the sting built into Food, Inc. is the realization that, without unending effort, they are not all that much freer in their choices than that hard-pressed family.
  10. Cold Souls has its flaws, and it threatens to sag into a Paul-like morbidity, but Giamatti’s anxious mien and unspectacular shamblings have never been better deployed.
  11. I have seen The Baader Meinhof Complex three or four times now, and, despite exasperation with its fissile form, I find it impossible not to be plunged afresh into this engulfing age of European anxiety.
  12. The film is a hybrid. Its backdrop is despair, but the foreground action has the silvery zest of a comedy.
  13. This is a movie of great spirit and considerable charm. It’s about the giddiness of promise--the awakening of young talent, after years of the Depression, to a moment when anything seems possible.
  14. The movie is simultaneously a police procedural, an analysis of language and imagery, a philosophical debate about law and justice, and a very, very dry Romanian Martini--so dry that, at first, one doesn't quite taste much of anything.
  15. Fish tank may begin as a patch of lower-class chaos, but it turns into a commanding, emotionally satisfying movie, comparable to such youth-in-trouble classics as "The 400 Blows." [18 Jan. 2010, p. 83]
  16. This is tricky, ambiguous material, seemingly better fitted to a short literary novel than to a movie, and it could have gone wrong in a hundred ways, yet Baumbach handles it with great assurance.
  17. Bellocchio gets the opera-buffa and the carnival side of Italian Fascism, and parts of the movie are excruciatingly funny.
  18. Like a finely wrought short story, and it's all but perfect.
  19. The movie’s story is conventional in shape, but it has passages of crazy exhilaration and brilliant invention.
  20. It’s a well-crafted, handsome period piece, and pleasant to watch, but the intensity of an obsessional style--something that matches Florentino’s crazy single-mindedness--is beyond Newell’s range. The director of “Donnie Brasco” and “Four Weddings and a Funeral” doesn’t paint with the camera; he doesn’t seize on certain visual motifs, as he should, and turn them into the equivalent of a lover’s devotion to fetishes.
  21. Get Low is deftly played, and it rarely mislays its ambling charm, but what a forbidding fable it could have been if the truth about Felix Bush, rather than emerging into sunlight, had slunk back into the woods.
  22. Solondz will never be meek and mild, and there are spasms of shame and awkwardness here that will make even devoted viewers wince as sharply as ever. But the movie, his best to date, and a sequel of sorts to "Happiness," feels drenched in an unfamiliar sadness.
  23. Not to warm to this movie would be churlish, and foodies will drool on demand.
  24. This final film -- after so many dazzling studies of adultery, such as "La Femme Infidele (1969) -- is a touching and unfashionable hymn to married love. [1 Nov. 2010, p.121]
  25. The barbs of wit, delivered throughout, are like the retractable daggers used in stage productions of "Macbeth" or "Julius Caesar": they gleam enticingly, they plunge home to the hilt, but they leave no trace of a wound.
  26. Nothing out of the ordinary happens in Blue Valentine, and that, together with the vital, untrammelled performances of the two leading actors, is the root of its power.
  27. This is typical Suleiman, as anyone who saw his no less wondrous work "Divine Intervention" (2002), can testify.
  28. This austere production has fire enough; it captures the elemental Bronte passions. [14 March 2011, p. 79]
  29. Reichardt is trying, as she was in her previous film, "Wendy and Lucy," for a mood of existential objectivty. She takes us from the florid grandiosity of Western myth to the bone-wearying stress of mere life. [11 April, 2011 p.89]
  30. Source Code is a formally disciplined work -- a triumph of movie syntax -- made with rhythm and pace. Jones, unlike most commercial directors, accelerates the tempo without producing visual gibberish. [11 April, 2011 p. 88]

Top Trailers