The New Yorker's Scores

  • Movies
  • TV
For 1,361 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: 63
Highest review score: 100 Ida
Lowest review score: 0 Bio-Dome
Score distribution:
1,361 movie reviews
  1. I wouldn't trust him (Downey) to look after my handkerchief, but I'll watch him in anything, and that is why Kiss Kiss, Bang Bang--smug as it is, and more like a day in the reptile house than a night at the movies--remains a slithery treat.
  2. The director, Gore Verbinski, would seem to be an odd man for this material, but he and Steven Conrad hold their ground, sticking to their conviction that Dave's story should play as a belated-coming-of-age movie.
  3. A major film without being a great film. It's a strange movie, and a stunningly pessimistic one, and the strangeness and pessimism connect it to other recent American films in ways that suggest that something unhappy in the national mood has crept into the movies.
  4. Allen's new movie, Match Point, devoted to lust, adultery, and murder, is the most vigorous thing he's done in years.
  5. Watching the antic inventions of Go for Zucker, I was moved by the thought that Jews have achieved a kind of Germanness again, and even more moved by the thought that Germans have achieved a kind of Jewishness again.
  6. Strange and off-putting, and hard-nosed types in the film business will no doubt dismiss it as a nothing. But, even if Bubble hasn't brought down the Bastille, the movie is far from nothing.
    • 45 Metascore
    • 70 Critic Score
    But, like Jerry Lewis, and, to a degree, Steve Martin, Carrey can make the idiotic seem inspired, and his manic mugging creates some big laughs.
  7. Among other things, Our Brand Is Crisis is about the failure of good intentions--a potent American theme at the moment. As the movie suggests, this failure, born of American arrogance, embraces liberals as well as neocons.
  8. The strength of the movie resides mainly in the work of its cameraman, Chris Menges, who delivers a barrage of images as rousing and changeable as the fortunes of Collins himself.
    • 65 Metascore
    • 70 Critic Score
    What makes the movie memorable is the over-all excellence of the performers.
  9. Screenwriter Richard LaGravenese and director Clint Eastwood have turned out something sombre and restrained -- almost, in fact, good (though it's too long).
  10. Thank You for Smoking is a nifty but slight movie. Some of the writing is obvious, and the dramatic structure is flimsy, if not downright arbitrary. But Eckhart, in a sure-handed performance, holds the picture together.
  11. The more it sags as a thriller, the more it jabs and jangles as a study of racial abrasion.
  12. A lightweight retelling of Page's life, a sketch, really, which doesn't probe very deeply into Page's bizarre mixture of exhibitionism and piety. But some scenes that might have been borderline exploitation, or just corny…turn out to be ineffably beautiful.
  13. It is one of those movies--Antonioni's "Red Desert" being the most flagrant example--that spend so much time brimming with moral and political suggestion that they almost forget to tell us what's actually going on.
  14. An extremely well-crafted exercise in physical invention and fear. Yet within those limits--the limits of a pop-digital survival drama--Poseidon is an exciting show.
  15. Russian Dolls offers touristic views of London, Paris, and St. Petersburg, where Wendy and Xavier both go for the wedding of another former roommate, and many pretty faces and bodies; it's froth with a sprinkling of earnest reflection.
  16. If Cars is something of a letdown, that is not because of the moral messages that it delivers but because of the heavy hand with which it cranks them out.
  17. A Prairie Home Companion has many lovely and funny moments, but there's not a lot going on. Dramatically, it's mellow to the point of inertia. There may not be any sweat, but there isn't any heat, either.
  18. In the end, Lower City is never quite as energetic as it wants to be, touched by the strange, milky lethargy that steeps every waterfront film.
  19. The work of both Babluani brothers is weirdly stilled and mature, already devoid of the need to show off--serves only to thicken the horror.
  20. As the movie shows, the whole furtive business of ratings is indeed ridiculous and should be overhauled.
  21. Whitaker, in the performance of a lifetime, makes him (Idi Amin) a charismatic madman.
  22. How could Frears and his cast rise above the sins of the miniseries? One answer is the force of that cast...The other thing that rescues and refines The Queen is one of the basic bonuses of moviegoing, more familiar of late from documentaries like "Touching the Void" and "Capturing the Friedmans": you come out arguing.
  23. The movie is over before you know it, and is not one to linger in the mind, or indeed pass through the mind at all; but it's a good-humored ride for the senses, never too sickly, and who can say no to that?
    • 71 Metascore
    • 70 Critic Score
    Duvall and Jones wear their roles like broken-in work clothes, and the screenplay has a drawling Southern rhythm that's very pleasing.
  24. Yet the film, against my wishes, left me unmoved.
  25. Craig has the courage to present a hollow man, flooding the empty rooms where his better nature should be with brutality and threat. His smile is more frightening than his straight face, and he doesn’t bother with the throwaway quips that were meant to endear us to the other Bonds.
  26. The movie has a gentle, bemused intelligence, the tone of British liberalism at its most open-minded.
  27. The project lacks the variety of sensuous pleasures that a great movie has to provide.

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