The New Yorker's Scores

  • Movies
  • TV
For 1,302 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 1.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 E.T.: The Extra-Terrestrial (re-release)
Lowest review score: 0 Bio-Dome
Score distribution:
1,302 movie reviews
  1. We are led through a murky and, it must be said, wholly uninvolving saga of substance abuse and related multiple murders. [6 October 2003, p. 138]
  2. Bertolucci is trying hard to shock us with this stuff, but, for all the perversities and the abundant nudity, the movie has an air of inconsequence about it. [9 February 2004, p. 74]
  3. One of the more high-minded and painful follies of recent years.
    • 54 Metascore
    • 40 Critic Score
    The pointlessness would be vastly more appealing if Wang and Auster didn't make such a point of it.
    • 52 Metascore
    • 40 Critic Score
    A sombre, boring little thriller based on David Baldacci's ridiculous right-wing best-seller.
    • 42 Metascore
    • 40 Critic Score
    In the more anonymous American setting, and without the mad conviction of a director like John Woo, all the choreographed murder feels dull, poorly paced, and, come to think of it, pretty demented.
  4. A shapeless mess, but at least it’s not as monotonous as “Kill Bill Vol. 1.” [19 & 26 April 2004, p. 202]
  5. You have to feel sorry for Moore, who is called upon to supply an unappealing mixture of neurosis and starch, and whose instinctive frailty is so endlessly exploited by Howitt's movie that the jokes, such as they are, go into retreat. [3 May 2004, p. 110]
  6. The horror flick, at its height, was a lyrical caressing of our fears; by the end of this nonsense, you fear for the well-being of the genre. “It’s dead!” [24 May 2004, p. 96]
  7. Even by the standards of disaster movies, The Day After Tomorrow is irretrievably poor: a shambles of dud writing and dramatic inconsequence which left me determined to double my consumption of fossil fuels. [7 June 2004, p. 102]
    • 46 Metascore
    • 40 Critic Score
    Griffin Dunne's plodding adaptation of Alice Hoffman's novel can't decide whether it's a horror show, a cute comedy, or a soap opera.
    • 39 Metascore
    • 40 Critic Score
    This tale of faith, fate, death, and redemption is non-threatening and also non-inspiring.
  8. A thriller stripped of thrills--or, even worse, a thriller that thinks of itself as somehow rising above the vulgar pleasures of excitement.
    • 67 Metascore
    • 40 Critic Score
    It's a shame that the movie whose coattails these wonderful actors are attached to is such an empty suit.
  9. You have to applaud for sheer folly. This doesn't just reprise another film. It reprises a French film.
  10. The directors, Andrew Lau and Alan Mak, manage to convince us that we have witnessed an action movie, although in fact the quantity of violence is so minimal that, under Hong Kong law, Infernal Affairs barely qualifies as a motion picture.
  11. Second-rate bawdiness--that is, bawdiness without the wit of Boccaccio or Shakespeare or even Tom Stoppard--is more infantile than funny, and I’m not sure that the American playwright Jeffrey Hatcher, who concocted this piece for the stage and then adapted it into a movie, is even second-rate.
  12. The happy couple (Farrell/Dawson) do enjoy one great scene together, and it's the high point of the movie-a naked tussle, in which she puts a knife to his throat. The whole sequence is quick, funny, and arousing, in sharp contrast to the rest of Alexander, which is sluggish, unsmiling.
  13. The clichéd macho silliness of the picture gets to be infuriating after a while.
    • 45 Metascore
    • 40 Critic Score
    The film flails all over the place in an attempt to appear tense and authoritative--but the plot never takes hold.
  14. A perplexing compound of the silly and the glum.
  15. The movie is a technological and publicity triumph, and a calamity in every other way.
  16. Yes
    You may get off on this enthralling stuff, But after half an hour I'd had enough.
  17. Crowe is attempting a modern screwball comedy--the kind of thing that, sixty years ago, Howard Hawks, directing Gary Cooper and Barbara Stanwyck, would have turned into romantic farce--but he has scaled the movie as an epic and turned his gabby heroine into a fount of New Age wisdom.
    • 58 Metascore
    • 40 Critic Score
    Disney may have seen lightning strike for the fifth consecutive time with this animated smash, but it's the weakest of the bunch: a bland, predictably p.c. story so taken up with teaching lessons about tolerance and the environment that it leaves hardly any room for laughter.
  18. There are moments when music and lyrics bear only the faintest relation to each other, a tricky state of affairs in a work that is almost bereft of spoken dialogue.
    • 58 Metascore
    • 40 Critic Score
    The director, Hugh Wilson, aims for harmless froth, and what he winds up with, as the hysteria level rises, is something brash and strident.
  19. More like the Pelican Long-and-Drawn-Out: well over two hours of plots, subplots and super-subdialogue.
  20. In truth, von Trier is not so much a filmmaker as a misanthropic mesmerist, who uses movies to bend the viewer to his humorless will.
  21. 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.

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