The New Yorker's Scores

  • Movies
  • TV
For 1,565 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 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Footnote
Lowest review score: 0 Bio-Dome
Score distribution:
1565 movie reviews
  1. Clooney and company could have used Sturges - or, even better, Clifford Odets - when it came to rewrites. With all the betrayals and gassy ambitions swirling around here, we badly need dialogue to ignite the film, instead of which even the most aggressive spirits keep firing the dampest of lines.
  2. The only person who wakes the movie from its slumbers is Emily Blunt. She gets a nothing role as a publicist, and makes something both sultry and casual out of it.
  3. The supporting cast provides centripetal force; too bad the center cannot hold.
    • 57 Metascore
    • 50 Critic Score
    The characters never take hold, and the result feels eerily hollow, like a series of charming improvisational bloopers.
  4. For all its handsomeness and its occasional moments of piercing intelligence, it's a fundamentally depressing piece of work--not because it deals with tragic events and memories but because the characters seem hapless and even stupid, and the writer-director can't, or won't, take control.
  5. Just creepy and unsavory at moments, but pleased to be so.
  6. The picture is schmaltzy and phallus-shrivelling, too.
  7. Has an oddly amorphous and inconclusive feeling to it. We never do find out who Tony (Jake Gyllenhaal) is, and his best friend, Troy (Peter Sarsgaard), who shifts back and forth between sanity and hysteria, is a mystery, too.
    • 62 Metascore
    • 50 Critic Score
    The story moves forward smoothly, but the pace is too even and the course is predictable.
  8. A minor work, but so menaced by distress that the characters take every opportunity to dance the dark away.
  9. The revelation is Wilde. A slender beauty with high cheekbones, she makes Anna a full-fledged neurotic, candid and demanding and changeable, shifting abruptly from snuggling happiness to angry defiance.
  10. A slight and rueful affair, intermittently funny.
  11. LaBute's attempt to follow in the footsteps of Restoration comedy is undercut by the fact that his dialogue is only fitfully funny, and you can't help but feel soured by the flat, ritualistic look of the action. The one enlivening performance comes, surprisingly, from Jason Patric.
  12. The film is perceptive and shrewd about such matters as the awkwardness of two kinds of aristocracy and power brought face to face. But "Hyde Park" never catches fire.
  13. The whole saga, complete with shootings and a car chase, is cooked up for the film. Meanwhile, when it comes to those with whom Davis worked so fruitfully to forge what he calls “social music,” we get nothing of Dizzy Gillespie or John Coltrane, say, and only the odd glimpse of Gil Evans (Jeffrey Grover).
  14. The ideas behind Enduring Love may be fascinating, but they don’t play; they sulk.
  15. If you want a Ron Howard movie about a man obsessed with a creature from the deep, In the Heart of the Sea, sadly, is not the place to start. Try “Splash.”
  16. Pretty much a miscalculation from beginning to end. [26 Nov. 2012, p.87]
    • The New Yorker
  17. If I were a Turkish official, I would not be too worried by this picture. Nothing so slippery can stir up indignation. [18 November 2002, p. 104]
    • The New Yorker
  18. The script is sketchy and somewhat puzzling (after a blissful night with Mousse, Paul leaves in the morning without explanation), but we're carried along by the potently ambiguous moods, the slow shifts from distant friendship to intimacy.
  19. Only Hailee Steinfeld’s committed performance as Nadine, a troubled high-school junior in Oregon, and Woody Harrelson’s deft turn, as a teacher who helps her, make this thin and cliché-riddled comic drama worth watching.
  20. Apart from Blanchett's performance, Veronica Guerin is not very interesting. The movie offers a brainless Hollywood version of investigative journalism. [10 November 2003, p. 129]
    • The New Yorker
  21. Compare this film with "Mud," and you realize how desperately you cared about the fate of the boys in "Mud," whereas those in Vogt-Roberts's movie are often too listless and too plaintive to earn, let alone heighten, our anxiety. [3 June 2013, p.74]
    • The New Yorker
  22. The movie holds one in its surly grip, but when it's over, few people, I think, are likely to be haunted by it. Futility may work as a mood in a short story, but in a full-scale movie it doesn't bear looking at for very long. (29 Oct 2001, p. 92)
    • The New Yorker
  23. Damon may be too young, too unformed, to play an amnesiac. Gazing at that blank face, we can't imagine that Bourne has any experiences or memories to forget. [17 & 24 June 2002, p. 176]
    • The New Yorker
  24. By the end of The Hateful Eight, its status as a tale of mystery and its deference to classic Westerns have all but disappeared, worn down by the grind of its sadistic vision. That is the Tarantino deal: by blowing out folks’ brains, he wants to blow our minds.
  25. Shyamalan remains as coolly unstirred by sex as he was in his previous movies--an astounding indifference, given the historical entwining of eros and fright. Even more bizarre is the gradual draining of humor from his work; the anatomy of horror demands a tongue in the cheek to go with the baring of teeth, but much of The Village is a proud and sullen affair.
  26. Anyone who soldiered through "The Expendables," two years ago, will be touched, and a little surprised, to learn that there is more to expend. [3 Sept. 2012, p.79]
    • The New Yorker
  27. The movie is so discreet and respectful that, outside the classroom, within whose walls the glory of French literature and language triumph, it never quite comes to life. [16 April 2012, p. 86]
    • The New Yorker
  28. The scenes of the musicians rehearsing or talking about music, with the actors playing parts of Opus 131 themselves (the longer stretches are played by the Brentano Quartet), are fascinating and moving for anyone who loves this music; the rest of the movie is conventional.

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