The New Yorker's Scores

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For 1,227 reviews, this publication has graded:
  • 37% higher than the average critic
  • 1% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score:
Grizzly Man
Critic Score 100
Lowest review score:
The Da Vinci Code
Critic Score 0
Score distribution:
  1. Positive: 623 out of 1227
  2. Mixed: 486 out of 1227
  3. Negative: 118 out of 1227
1,227 movie reviews
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  1. Buena Vista Social Club
    The movie comes closer to pure happiness than anything else in the theatres at the moment, and it has an intriguing and moving subtext: the Cubans' buried but irrepressible love of things American.
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  2. Late Marriage
    The most fruitful twist in Late Marriage is that at its core lies not a snippy domestic farce but a prolonged, dirty, and wholly credible sex scene, which starts and stops and starts again, and in which argument and arousal are entwined like limbs. [27 May 2002, p.124]
  3. Tarzan
    At its best, the movie is an exhilarating, surf-topping ride. With Minnie Driver providing the voice of a deliciously flirtatious Jane.
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  4. The Fugitive
    It's a pleasure to find a thriller fulfilling its duties with such gusto: the emotions ring solid, the script finds time to relax into backchat, and for once the stunts look like acts of desperation rather than shows of prowess.
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    • Metascore: 87
    • Critic Score 90
    Howards End
    A handsome and intelligent piece of work: a faithful, well-paced, and carefully crafted dramatization of a very good story.
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  6. American Splendor
    That is the quiet triumph of American Splendor: behind the playfulness, it cleaves to an oddly old-fashioned belief that a life, even a life as mangy as Mr. Pekar’s, gains in depth and darkness when it is crosshatched with the imaginary. The nerd needs no revenge. [18 & 25 August 2003, p. 150]
  7. Russian Ark
    By the time of the closing shot -- twists of fog rising like spectres from a leaden sea -- even the most stubborn viewer will be lying back in a state of happy hypnosis. [16 December 2002, p. 106]
  8. Thirteen
    This movie is an emotionally coherent work--a burning experience of desperation and fleeting exhilaration. [1 September 2003, p. 130]
  9. Open Range
    In this handsomely traditional movie, Kevin Costner has tried to fix the Western myth for all time in the stern contours of Duvall’s face and the guttural beauty of his voice. [1 September 2003, p. 130]
  10. The Lord of the Rings: The Two Towers
    The virtues of Jackson's trilogy, thus far, have been pace and astonishment, which is almost the same thing. [6 January 2003, p. 90]
  11. Training Day
    Trashy and opportunistic as some of it is, Training Day is the most vital police drama since "The French Connection" or "Serpico."
  12. Narc
    A blood-soaked, hellish experience -- a midnight special for lovers of a violent genre -- yet it has been made with a mixture of ferocity and sweetness which leaves one exhausted but at peace. [27 January 2003, p. 94]
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  13. The Shawshank Redemption
    Too long, but it feels sturdy and stirring – there's an old fashioned decency in the way that it exerts, and increases, its claim upon our feelings. [26 Sept 1994, p.108]
  14. Minority Report
    The casting of Minority Report may be the smartest in the history of Spielberg. [1 July 2002, p. 96]
  15. The Quiet American
    I cannot remember a major movie, not even "The Godfather," that forced me to peer so intently into the gloom. [2 December 2002, p. 87]
  16. Sur mes lèvres
    The movie turns into a serious and rather audacious study in the sexiness of a nonsexual relationship, though by the end the audience may be rooting for the two to quit risking life and limb and just go to bed together. [15 July 2002. p. 90]
  17. Pulp Fiction
    The architecture of Pulp Fiction may look skewed and strained, but the decoration is a lot of fun. [10 Oct 1994, p.95]
  18. Central Station
    An intimate epic.
  19. The Lord of the Rings: The Fellowship of the Ring
    Consistently beautiful and often exciting -- despite some dead passages here and there, it's surely the best big-budget fantasy movie in years. [24 & 31 Dec 2001, p. 126]
  20. Panic Room
    There is something horribly apt in the way Fincher closes the drama in joyless exhaustion, leaving you certain that there will be a sequel to these events, not onscreen but in someone's home, tonight. [8 April 2002, p. 95]
  21. Fellini: I'm a Born Liar
    This Franco-Italian-Scottish co-production, directed by Damian Pettigrew, is an extraordinarily controlled piece of film. [14 April 2003, p.88]
  22. Moonstruck
    Moonstruck isn't heartfelt; it's an honest contrivance – the mockery is a giddy homage to our desire for grand passion. With its special lushness, it's a rose-tinted black comedy. [25 Jan 1988, p.99]
  23. Lilya 4-Ever
    As with "Together," Moodysson has pulled off a staggering dramatic coup, and again we are forced to ask: How does he do it? [21 & 28 April 2003, p.194]
  24. 25th Hour
    It captures the city's bitter, wire-taut mood after September 11th, and I hope that Disney -- finds some way to bring this acrid and brilliant little picture to the large audience it deserves. [13 January 2003, p. 90]
  25. Pirates of the Caribbean: The Curse of the Black Pearl
    All in all, Pirates of the Caribbean is the best spectacle of the summer: the absence of pomp is a relief, the warmth of the comedy a pleasure. [28 July 2003, p.94]
  26. A Mighty Wind
    A new kind of affectionate satire which is all but indistinguishable from an embrace. [5 May 2003, p. 104]
  27. Cold Mountain
    A much better movie about the South during the Civil War than “Gone with the Wind”--visionary, erotic, and tragic where the older movie is flossy, merely ambitious and self-important. [22 & 29 December 2003, p. 166]
  28. Monster
    If the notoriously squeamish and slumberous members of the Academy can pull themselves together and face Monster, they should know whom to vote for as the best actress of the year. [26 January 2004, p. 84]
  29. Touching the Void
    Kevin Macdonald has a terrific tale on his hands, and his telling of it, very British in its matter-of-factness, can barely be faulted; yet the facts drop away, and it becomes impossible not to read the movie symbolically--as a journey to the center of the earth, or farther still.
  30. The Return
    It is the first film to be directed by Andrey Zvyagintsev, and what it shares with other coruscating débuts, from “The Four Hundred Blows” to “Badlands,” is a sense that it HAD to be made. There is a controlled wildness at the heart of such movies, whose narratives ask to be handled as delicately as explosives. [15 March 2004, p. 154]
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