The New Yorker's Scores

  • Movies
  • TV
For 1,693 reviews, this publication has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Margin Call
Lowest review score: 0 The Da Vinci Code
Score distribution:
1693 movie reviews
  1. Some sign of mental reach would have been welcome, even if it extended only as far as their children. Indeed, given the title, it's remarkable how little space is granted to the offspring, who are introduced as excretory machines, sex-blocking irritants, and occasional simpering angels, but never as beings unto themselves. Any parents who see this movie should be warned about the final score: Friends 6, Kids 0.
  2. The Oxford theory is ridiculous, yet the filmmakers go all the way with it, producing endless scenes of indecipherable court intrigue in dark, smoky rooms, and a fashion show of ruffs, farthingales, and halberds. The more far-fetched the idea, it seems, the more strenuous the effort to pass it off as authentic.
  3. T2 cannot hope to break the mold, as “Trainspotting” did, but Boyle and his cast rifle eagerly through the shards: a motley of plot scraps, crazed camera angles, flashbacks, trips, sight gags, and musical yelps.
  4. From the start, it feels handsome, steady, and stuck; the ties that bind the historical bio-pic are no looser than those which constrain a royal personage, and the frustration to which Victoria would later admit is legible in the face of Emily Blunt, who takes the title role.
  5. I suspect that Buffalo Soldiers is not about the Army at all. Without much ado, it could have been turned into “Buffalo Management Consultants” or “Buffalo Movie Executives.” Any clenched community would suffice. [8 August 2003, p. 84]
    • The New Yorker
  6. A virtual textbook of action clichés.
  7. The movie is a divertissement; it's lightweight and almost meaningless except for the fights, which are extraordinarily violent. [30 Jan. 2012, p.79]
    • The New Yorker
  8. Somehow the movie that Rob Marshall has made from Golden's novel is a snooze. How did he and the screenwriter, Robin Swicord, let their subject get away from them?
    • 53 Metascore
    • 50 Critic Score
    But the picture as a whole isn't in the class of "Tootsie" and "Some Like It Hot," mostly because its premise is sentimental, not cynical.
    • 69 Metascore
    • 50 Critic Score
    The clever dialogue, seductive camera work, and beautiful production design (the lavish dream sequences look like Busby Berkeley on Ecstasy) almost make you forget the vacancy at the movie's core, but in the end there's no escaping the feeling that the Coens are speaking a secret language.
  9. So rich is that visual yield, however, that it needs no verbal boost. Yet, from the moment that Margot says to Daniel, while sitting next to him on a plane, "I'm afraid of connections," the dialogue strains and grunts so hard for effect that it threatens to pull a muscle.
  10. The new film will recruit new friends to the cause; but if we seek George Smiley and his people, with their full complement of terrors, illusions, and shames, we should follow the example of the ever-retiring Smiley, and go back to our books. That's the truth.
  11. The Wolf of Wall Street is a fake. It’s meant to be an exposé of disgusting, immoral, corrupt, obscene behavior, but it’s made in such an exultant style that it becomes an example of disgusting, obscene filmmaking. It’s actually a little monotonous; spectacular, and energetic beyond belief, but monotonous in the way that all burlesques become monotonous after a while.
  12. Hearts and Minds, which gives no clue that atrocities were committed by the other side, and which allows Davis to cut from a rampaging football game, back home, to the Tet offensive, will be a lesson to anybody who thinks that Michael Moore invented the notion of documentary as blunderbuss.
  13. Harry Potter and the Sorcerer's Stone is, despite its trickery, that plainest and least surprising of artifacts; the work of art that is exactly the sum of its parts, neither more nor less. [19 Nov 2001, p. 78]
    • The New Yorker
  14. Much of the film glides past with a slightly purposeless elegance. Astounding landscapes rise and fall away; enticing women glance and dance and disappear.
  15. The year's most divided movie to date; everything that happens in the higher realms, vaguely derived from Nordic legend, is posturing nonsense, whereas the scenes down here are managed, for the most part, with dexterity and wit. [16 May 2011, p. 133]
    • The New Yorker
  16. Sean Penn’s Into the Wild is certainly visual--it’s entirely too visual, to the point of being cheaply lyrical.
  17. The movie takes time to warm up, it weakens into soppiness at the end, and the game itself, if you think it through, makes very little sense.
  18. Zwick can’t find anything fresh in this deeply pious East-meets-West stuff. The movie comes close to dying between battle scenes. [8 December 2003, p. 139]
    • The New Yorker
  19. The movie's conceits are just barely endurable, but the sharpness of Dörrie's eye--for Tokyo's electric night, for Fuji's iconographic landscapes, for cherry blossoms--sustains emotion even when story logic fails.
  20. Yes, it's a collection of barbs and sick jokes, but it's not fun, and it lacks a punch line...The young, inexperience director, Michael Lehmann, doesn't find the right mood for the gags. [17 Apr 1989]
    • The New Yorker
  21. The ineluctable downward pull of absolutely everything in this movie is more exasperating than moving. [12 January 2004, p. 86]
    • The New Yorker
  22. The film's technical achievements may be complex, but its emotions are facile.
  23. The filmmakers peddle fear and then try to claim the moral high ground; the treatment is foolish, confused, and borderline irresponsible.
  24. While re-creating the vast swing of German forces in and out of Russia, Kadelbach tries to capture the inner turmoil of two men. Call it half a victory.
  25. Strange, empty movie, a metaphysical Cracker Jack box without a prize in its empty-calorie depths.
  26. Nothing in the movie makes sense, but I prefer to think that Ride Along is just a badly told joke, rather than an insult to its audience.
  27. As I took off my gray-lensed 3-D spectacles at the end of Monsters vs. Aliens, I felt not so much immersed as fuzzy with exhaustion. What I had seen struck me less as a herald of shining possibility than as a thrill ride back to the future--back, that is, to an idea of the future, and a stale one at that.
  28. What binds and clads the new movie most thoroughly, however, is not storytelling but the high pressure of atmosphere.

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