The New Yorker's Scores

  • Movies
  • TV
For 1,522 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: 63
Highest review score: 100 Memphis
Lowest review score: 0 The Da Vinci Code
Score distribution:
1522 movie reviews
  1. As for the title, well, it made me think of Thomas Carlyle's wife, who read Browning's long poem "Sordello," enjoyed it, but still couldn't work out whether Sordello was a man, a city, or a book. So it is with 2046. A place? A date? A hotel room? A bar tab? You tell me.
  2. Has some of the wittiest writing Sayles has ever done for the movies and some of the best acting he's ever coaxed out of his performers, and the picture is a pleasant, if unexciting, experience. [8 July 2002, p.84]
    • The New Yorker
  3. Even when the male of the species tries to do better, he does his worst; and the most merciless verdict in Klown is delivered not by the law, or by fate, but by the eyes of women.
  4. Harmless, but it gave me a pain. Why make such a fuss over middle-aged bodies anyway? [22 & 29 December 2003, p. 166]
    • The New Yorker
  5. The other Grant, the irresistible but slippery Cary, was called to account by such strenuous and willful mates as Irene Dunne, Katharine Hepburn, and Ingrid Bergman. But Hugh Grant has never been matched with a woman who directly challenged his oddly recessive charm. [3 June 2002, p. 100]
    • The New Yorker
  6. The Theory of Everything makes a pass at the complexities of love, but what’s onscreen requires a bit more investigation.
    • 47 Metascore
    • 60 Critic Score
    The film is paced like a breezy sixties romp and there are some good gags, but the plot's a bit creaky and lacks the clever zing of a good scam.
  7. Never has a blockbuster, I would guess, required so many soliloquies. What with the mournful Molina, the hazed-over Dunst, and the puffy uncertainties of Maguire, we in the audience are the only ones who still believe, without qualification, in thrill and spill.
  8. The French creators of the dance numbers take their work very seriously; they speak of it in terms that would have shamed George Balanchine. That they are sincere in their ideas, however, doesn't mean that they aren't provincial in their own way and long out of date; nor does it mean, to our astonishment, that their show isn't repetitive, solemn, and slightly boring.
    • 61 Metascore
    • 60 Critic Score
    The movie is disjointed and, at times, unintentionally funny, but its ineptitude is so good-natured that it makes a charming alternative to the mind-numbing professionalism of American action movies. [23 Feb 1996]
    • The New Yorker
  9. At best, I Love You Phillip Morris may be hailed as a necessary step in Hollywood's fearful crawl toward sexual evenhandedness; the film upholds the constitutional right of every gay man to be as much of a liar, a crook, and a creep as the rest of us. Makes you proud.
  10. There was always a dreaminess in his vision of the city, but now it feels as distant as the polished floors and the Deco furnishings of the Fred Astaire movies that Boris finds--of course--whenever he turns on the TV.
  11. The allure of San Andreas rests entirely on the calibre of its pandemonium, savored, ideally, with a brawling audience on a Friday night. Indeed, it is the kind of movie that makes me want to campaign for the serving of alcohol in leading cinema chains — mandatory beer, I propose, with shots of Jim Beam to toast the dialogue.
  12. Huggins is brash and brisk, of course, with Moretti cleaving to an old-fashioned myth of the American interloper. But Turturro is slightly too broad for the occasion, relishing the outbursts of the spoiled star.
  13. The ambition is laudable, but Tim Miller’s movie, far from seeming reckless and loose-limbed, comes across as pathologically calculated, measuring out its nastiness to the last drop.
  14. Hardy gave his heroine a symphonic range, and all an actress can do is pick out certain tones and strains — the fluted whimsy by which Bathsheba is occasionally stirred, or the brassiness of her anger. Julie Christie was the more accomplished flirt, and her beauty was composed of fire and air, whereas Mulligan relies more darkly on earth and water.
  15. There are treasures in Knight of Cups. It’s worth seeing just for the underwater shots of dogs as they plunge, mouths laughingly agape, into a pool to grab a tennis ball.
  16. Slamming different kinds of experience together, Lee tries to do with montage what he cannot do with dramatic logic.
  17. Poky but often charming.
  18. Makes a suitable staging post in Witherspoon's headlong career. She may want to forget it by Christmas, yet its cushioned slackness allows her to sharpen her grasp of a steely American type: the girl next door who will kill to get out of town. [30 Sept 2002, p. 145]
    • The New Yorker
    • 75 Metascore
    • 60 Critic Score
    The movie is fairly entertaining; it's too bad the guest of honor is such a drag.
  19. One imagined that a movie about the Crusades would be gallant and mad; one feared that it might stoke some antiquated prejudice. But who could have dreamed that it would produce this rambling, hollow show about a boy?
  20. The memoir is strongly written, and I wish that the movie, directed by John Curran (Marion Nelson did the adaptation), had more excitement to it.
  21. You may feel safe in your bed, but be warned: even as you sleep, Earth is under threat from a vast, overheated surplus of character actors.
  22. Smart, willful, and perverse, this Frida is nobody's servant, and the tiny Hayek plays her with head held high. You may want to laugh now and then, but you won't look away. [11 November 2002, p. 195]
    • The New Yorker
  23. Indeed, the whole film is oddly poised between the pensive and the peevish, with a topdressing of high jinks.
  24. For all the lunacies bared within this film, it has the tick and thrum of a solid studio machine, occasionally shocking but never surprising; it will be watched by everybody, but it feels as if it were made by nobody. [14 & 21 October 2002, p. 226]
    • The New Yorker
  25. It’s the right role for Cruise, but the movie is so devoted to him, so star-driven, that it begins to seem a little demented.
  26. Comes in well under the ninety-minute mark, leaving no room for bombast or overkill.
    • 59 Metascore
    • 60 Critic Score
    This is acting that chills the heart beyond any possibility of warming.

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