The New Yorker's Scores

  • Movies
  • TV
For 1,721 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 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Dreamgirls
Lowest review score: 0 The Da Vinci Code
Score distribution:
1721 movie reviews
  1. This is pitiful stuff, and, like the violence, it eats away at the blitheness for which Kingsman strives, leaving an aftertaste of desperation that the Connery of “Goldfinger,” say, would not have dreamed of bequeathing. The sadness is that Firth, alone in the film, does raise the spectre of those days, radiating a lightly amused reserve amid the havoc.
  2. Dave’s dread of his brother hooks The Ardennes onto a long chain of fraternal crime dramas, from “The Public Enemy” (1931) and “On the Waterfront” (1954) to “We Own the Night” (2007). Pront can hardly be blamed if his actors lack the sinew of Cagney or Brando.
  3. There is much to savor here, especially the unforced performance of Judah Lewis — one more recruit to the terrific roster of younger actors who are streaming into the movies. Yet the film lacks the courage of its affliction.
  4. Starts smart and ends dumb. [24 Aug 1987, p.79]
    • The New Yorker
  5. The film is nonsense, and what counts is whether viewers will feel able to lay aside their logical complaints and bask in what remains: a trip in search of a tan.
  6. Lucky Number Slevin is a bag of nerves. Everything here is too much. The older the actors, the saltier the ham of their performances.
  7. The movie, with spiderlike timidity, scuttles into a corner and freezes. [13 May 2002, p. 96]
    • The New Yorker
    • 42 Metascore
    • 50 Critic Score
    Forest Whitaker directed with a slow, sugary touch -- and, one suspects, an eye toward the home-video market.
  8. Nicholson's fatuous leering performance dominates the movie, and because his prankishness also comes out in the casting and directing, the movie hasn't any stabilizing force; there's nothing to balance what he's doing--no one with a strait jacket. An actor-director who prances about the screen manically can easily fool himself into thinking that his film is jumping; Nicholson jumps, all right, but the movie is inert.
    • The New Yorker
  9. Babel is an infuriatingly well-made disaster.
  10. O.K. for children.
    • 46 Metascore
    • 50 Critic Score
    The supporting cast of yokels commit plenty of redneck faux pas, but the witty script is weighed down by the director David Dobkin's heavy hand.
  11. There are many scenes of mock-lucha wrestling, which become as boring as actual wrestling. Nacho Libre, naïvely made kids’ stuff, lacks such minor attributes as a decent script and supporting cast.
  12. The audience decided to sell Snakes to itself, and that became the event--the actual movie could never have been more than another exploitation picture.
    • 62 Metascore
    • 50 Critic Score
    For anyone who was transfixed by the first movie, watching the new one is a little like being unplugged from the Matrix: What was I experiencing all that time? Could it have been . . . all a dream? [19 May 2003, p.68]
  13. Everybody in and around this movie is trying too hard...After half an hour, we realized that, instead of enjoying a funny film, we were being lightly bullied into finding fun where precious little exists. [5 April 2004, p. 89]
    • The New Yorker
  14. Cheesy low farce, with Danny DeVito as a thieving millionaire who wants to kill his heiress wife (Bette Miler) and is overjoyed when she's kidnapped.
    • The New Yorker
  15. Wilson and the director, Steven Shainberg, draw on Arbus's family and on many elements from her life and her art, only to turn the material into feeble nonsense.
  16. Now the mush has taken over, and Columbus has slowed his pace in nervous deference to the solemnity of his plot (not to mention the opulence of his characters' lives).
  17. In short, Dark Blue suffers from a problem that, however niggling, is likely to hobble any thriller: no thrills. [17 & 24 February 2003, p.204]
    • The New Yorker
  18. Picture my disappointment as I realized that, for all the pizzazz of Superman Returns, its global weapon of choice would not be terrorism, or nuclear piracy, or dirty bombs. It would be real estate. What does Warner Bros. have in mind for the next installment? Superman overhauls corporate pension plans? Luthor screws Medicare?
  19. The glum fact is that Gone Girl lacks clout where it needs it most, at its core.
  20. The movie is a mess, but it’s certainly not dull.
  21. In brief, I fell cheated by these clever, narrative-disrupting films. They seem to miss the point. After all, every fiction film is magical--an artifice devoted to “What if?”
  22. The subject - the romantic life of an American Communist - may be daring, but the moviemaking is extremely traditional, with Beatty playing a man who dies for an ideal. It's rather a sad movie, because it isn't really very good.
    • The New Yorker
  23. You should see it just for Chester — the adventurous sham, running ever deeper into a maze of his own devising.
  24. When Wright literalizes the fantastic, the movie turns squalid. He does better when he lets his visual fancies roam free. [25 April, 2011 p.88]
    • The New Yorker
  25. We're supposed to be overwhelmed by magic, but what we see is fancy film technique and a lot of strained whimsy.
  26. Arnold’s very strength — the mashup of grime and epiphany — is in danger of becoming a shtick. Then, there’s the length: an elasticated plot doesn’t really suit a director who is at her best in specific locations, where people get stuck like flies.
  27. The movie is ungainly – you can almost see the chalk marks it's not hitting. But it has a loose, likable shabbiness. [19 Oct 1987, p.110]
    • The New Yorker

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