The New Yorker's Scores

  • Movies
  • TV
For 1,389 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 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Inside Job
Lowest review score: 0 Bio-Dome
Score distribution:
1,389 movie reviews
  1. RED
    The good news is that, while "The Expendables" was the kind of product that should be shown to health inspectors rather than critics, much of Red is jovial and juvenating. [1 Nov. 2010, p.121]
    • The New Yorker
    • 88 Metascore
    • 70 Critic Score
    The picture's real strength is its witty, vigorous evocation of the fifties media world.
  2. Only at the end do we sense Shelton forcing her hand, and arranging, rather too neatly, for the rebalancing and desaddening of all concerned. [25 June 2012, p.85]
    • The New Yorker
  3. I was surprised at how not-bad it is. It may fall into the category of youth-exploitation movies, but it isn't assaultive, and it's certainly likable. [1 Nov 1982, p.146]
    • The New Yorker
  4. To be at once earthy and ethereal is an uncommon gift. I noticed it, in Browning, when she starred in "Lemony Snicket's A Series of Unfortunate Events," as the calmly eccentric Violet Baudelaire. Already, as a teen-ager, she seemed older and wiser than the events unfolding around her, and, likewise, in Sleeping Beauty, she impugns the drooling antics of the elderly.
  5. Finding Nemo is, as it happens, the most dangerously sugared of the Pixar productions to date--how could any father-finding-son saga be otherwise?--but the threat is now one of oversophistication. [9 June 2003, p. 108]
    • The New Yorker
  6. You leave the film like one of Giovanni's patients rising from the couch -- far from healed, but amused and pacified by the sympathy that has washed over you. [4 Feb 2002, p. 82]
    • The New Yorker
  7. Eastwood is a more forceful actor than he was twenty years ago--less opaque, less stylized, and altogether more idiosyncratic. He's too old and unsuited by temperament to play the tough city newspaper reporter in this film, but he still has an authority that few younger actors could match.
  8. If there's one movie this spring that you shouldn't see with a date, it's Everyone Else, unless you are looking for a quick, low-budget way to break up. Not that Maren Ade's film is especially gloomy or cynical; merely that it functions as a fearsome seismograph, charting not just the major quakes in a relationship but also the barest tremors.
  9. In previous movies, Michael Bay dabbled wearily in Homo sapiens. At last he has summoned the courage to admit that he has an exclusive crush on machines, and I congratulate him on creating, in Transformers, his first truly honest work of art.
  10. Redacted is hell to sit through, but I think De Palma is bravely trying to imagine his way inside an atrocity, and that he’s onto something powerful with his multisided approach.
  11. Finally, a voice-over from Jimmy Carter, lauding the efforts of those involved. All this is, frankly, uncool - a pity, because the rest of Argo feels clever, taut, and restrained.
  12. An amiable family comedy one step above a TV sitcom (and several steps below “Moonstruck.”
  13. Nobody does shrewishness better than McEwan. [8 August 2003, p. 84]
    • The New Yorker
  14. An Education is perceptive and entertaining, but it doesn’t have the jolting vitality of, say, “Notes on a Scandal,” which dramatized an even more unconventional liaison--older woman, fifteen-year-old boy.
  15. 22 Jump Street is hardly fresh, but the picture has enough energy to get by.
  16. For all its oddities, this movie does carry weight, and, with more than eight per cent of Americans out of work, the timing of its release here could not be more acute.
  17. Hackman works with a joyous authority that seems to come out of the experience of the character he's playing. He liberates David Mamet from David Mamet. [12 Nov 2001, p. 139]
    • The New Yorker
  18. Above all, what makes the movie work -- what renders it not merely exhausting but fulfilling -- are the boys. Bier summons fine performances all around, but Nielsen, in particular, turns the role of christian into a drama all its own. [4 April, 2011, p. 82]
    • The New Yorker
  19. The movie has a gentle, bemused intelligence, the tone of British liberalism at its most open-minded.
  20. Beyond question a return to the dark, simmering days of their best work, in “Blood Simple” and “Miller’s Crossing.”
  21. The only player to conquer Chicago is Catherine Zeta-Jones, who is no Charisse in her motions but who gets by on a full tank of unleaded oomph. [6 January 2003, p. 90]
    • The New Yorker
  22. Shadow Recruit is fun in a minor, winter-season way. If the producers stick with Chris Pine as he ages, they may end up with something worth caring about. [20 Jan.2014, p.78]
    • The New Yorker
  23. Sometimes too ominous for its own good.
  24. The pathos of About Schmidt -- of the careful, Chekhovian work that it could have been --gradually slides away. [16 December 2002, p. 106]
    • The New Yorker
  25. 9
    And here's the strangest thing of all: it works. [September 14, 2009, pg.ll4]
    • The New Yorker
  26. In the end, Ex Machina lives and dies by Alicia Vikander. The film clicks on when she first appears, and it dims every time she goes away.
  27. Given the earnest mayhem that prevails at your local multiplex, there is surely a place for a lightly mocking modernist with a growing distaste for the modern. [9 April 2012, p.84]
    • The New Yorker
  28. What really grips the new movie, for all its amused glances at Swiss Guards and ceremonial pomp, is the prospect of a single soul in crisis. [9 April 2012, p.85]
    • The New Yorker
  29. An efficient, politically inert fantasy.

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