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 Black Hawk Down
Lowest review score: 0 The Da Vinci Code
Score distribution:
1565 movie reviews
  1. Amelia is handsome yet predictable and high-minded--not a dud, exactly, but too proper, too reserved for its swaggering subject.
  2. The clichéd macho silliness of the picture gets to be infuriating after a while.
  3. What happens, though, and what lures the film into disaster, is that Hartley lets slip his sense of humor (always his strongest asset) and begins to believe his own plot.
  4. The pleasures of the design fade along with those of the pat and callow drama.
  5. What a comedown, after the weirdly beautiful things Singer and his technicians did in the first two movies.
  6. The urge to make viewers squirm is fair enough, but when it runs ahead of the urge to entertain -- when the jokes trail in the wake of the embarrassments -- you can't help leaving the theatre sad and soured. [4 Feb 2002, p. 82]
    • The New Yorker
  7. The best reason to stay with it is Vaughn, whose lanky wryness wards off the threat of pomposity. The worst reason is Jada Pinkett Smith, who gets stuck with a thankless role as the unwittingly lethal villain -- a newspaper journalist, of course.
  8. When Beatty and Hoffman doe their (deliberately hopeless) singing numbers, jerking like mechanical men, phrasing unmusically, going off-key, they don't have the slapstick skills for it. That's when you long for Martin and Murray, or some other comics. [1 June 1987, p.102]
    • The New Yorker
  9. The last third of the movie is as bad as anything I’ve seen this year, with the laughs trailing off, and half of the supporting characters, the zestier ones, being airbrushed from the frame. (What director in his right mind would drop Tina Fey from the proceedings?)
  10. War Horse is a bland, bizarrely unimaginative piece of work. [2 Jan. 2012, p.79]
    • The New Yorker
  11. It seems that the director, who also made "The Incredible Hulk" and "Clash of the Titans," will do anything to distract us from the emptiness to which he has devoted himself. [10 & 17 June 2013, p.110]
    • The New Yorker
  12. However mystifying, or downright boring, you find the result, rest assured that the Refn faithful will swoon. Peace be with them.
  13. Unfortunately, it's also maddeningly repetitive, and dependent on the kind of strained English whimsy that leaves your throat sore from laughter that dies in the glottal region.
  14. That's the problem with this third installment of the franchise: not that it's running out of ideas, or lifting them too slavishly from the original comic, but that it lunges at them with an infantile lack of grace, throwing money at one special effect after another and praying--or calculating--that some of them will fly.
  15. Much of what Oskar says in the book is amusingly beside the point. Onscreen, however, the sound of a hyper-articulate boy talking semi-nonsense becomes very hard to take.
  16. As you watch, you don't think of the decline of American civilization; you think that these are good actors giving themselves a hell of a workout in a misbegotten movie. [6 Jan. 2014, p.72]
    • The New Yorker
  17. May have been written by a young woman, but it feels like a middle-aged man's fantasies about young people. The dialogue is actually - to retrieve an old word - vulgar. [7 Feb. 2011, p. 82]
    • The New Yorker
  18. The movie is messily ineffective. Daniels likes charged, discordant scenes, with sudden explosions of violence. He shoves the camera in people's faces, and he can't convincingly stage a scene with more than two people in it. [8 Oct. 2012, p.86]
    • The New Yorker
  19. The Canyons is not porn, but it has the demoralized second-rateness and the lowlife inanity of the porn world.
  20. The material has been turned into a trivially narcissistic product for teen-age girls who want to feel indignant about wrongs they are unlikely to suffer.
  21. There’s a big hole in the middle of the movie: the director, Tom Tykwer, and the screenwriter, Eric Warren Singer, forgot to make their two crusaders human beings.
  22. Off the dance floor, however, Black Swan is trashy and incoherent. Aronofsky, for all his gifts, is a gaudy maestro, opportunistic and insecure as an artist.
  23. Prince of Persia is meant purely as light entertainment, but the way it draws on layers of junk is depressing.
  24. The Dictator, like its predecessors, is short (eighty-three minutes), but it runs down fast, and the lewd jokes pile up. [28 May 2012, p. 76]
    • The New Yorker
  25. In this movie, Phoenix turns himself inside out, but Cotillard’s reserved performance doesn’t move us. Bruno advances in his confused way, Ewa resists, and, despite Jeremy Renner’s flickering presence, the movie becomes dour and repetitive. Looking at them, you finally think, Enough! Life must be elsewhere.
  26. The movie that Josée Dayan has made about the Duras-Andréa affair is not a scandal. Unfortunately, it’s not much of anything but a solemn joke. [14 April 2003, p.88]
    • The New Yorker
  27. Never Let Me Go is in such good taste that we never feel any horror over the idea at the center of it.
  28. Sparks like that are scattered through, and yet the sad fact is that Jersey Boys is a mess. Parts of it feel half-finished.
  29. One of the more high-minded and painful follies of recent years.
  30. A confused, humorless grind.

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