The New Yorker's Scores

  • Movies
  • TV
For 1,567 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 12 Years a Slave
Lowest review score: 0 The Da Vinci Code
Score distribution:
1567 movie reviews
  1. Even if you like your movies sick and black, as many people do, it's hard to miss the irony: in the very act of trying to intensify his Southern tale, Friedkin dilutes the impact.
  2. What ensues is a devout communal effort, tricked out with various hops through time and space, to make us forget that it was a piece of theatre in the first place. Needless to say, the attempt is in vain.
  3. For a better reckoning of 1968, you need a better writer — Norman Mailer, unloved by Buckley and Vidal alike, whose “Miami and the Siege of Chicago” covered the same events. Next to his fervid look at the sinews of power, as they sweat and flex, Best of Enemies is barely more than a skit.
  4. Of the two attempts, I still prefer the one from my childhood.
  5. I'm more than ready to welcome a new style and a new metaphysic, but I still respond with skepticism and exasperation to Weerasethakul's work, which is sensuous and ruminative but also flat, almost affectless. [28 March 2011, p. 116]
    • The New Yorker
  6. This is one of the rare movies that are too sensitive for their own good.
  7. Adapted from the million-selling novel by Janet Fitch. Not adapted enough, I would say. [14 & 21 October 2002, p. 226]
    • The New Yorker
  8. First, you try to understand what the hell is going on. Then you slowly realize that you will never understand what is going on. And, last, you wind up with the distinct impression that, if there was anything to understand, it wasn’t worth the sweat.
  9. A lot more fun than bludgeoning, soul-draining follies like "Terminator Salvation" or the "Transformers" films, and, with a decisive trim, it could truly have fulfilled its brief as a bright, semi-abstract pop fantasy, at once excitable and disposable. Oddly, it did once exist in that form: in the first trailer.
  10. Thanks for Sharing is worth it, because of Pink. [30 Sept. 2013, p.85]
    • The New Yorker
    • 54 Metascore
    • 50 Critic Score
    Angels, according to this movie's nonexistent logic, travel at the speed of thought and are invisible except to other angels, children, and the dying.
  11. The director looks empathetically at lives of convention and duty that stifle romance and desire, but she reduces the fiery literary lovers to ciphers.
  12. This literal-minded movie sells old pieties and washes away fear so thoroughly that it creates a new kind of fantasy, in which all's right with a very troubled world. [21 April 2014, p.110]
    • The New Yorker
  13. Transcendence is a muddle; it takes more creative energy than this to catch up to the present. [28 April 2014, p.86]
    • The New Yorker
    • 51 Metascore
    • 50 Critic Score
    Aside from Heche, who is a quick, witty actress, the film seems to reside in a bizarre time warp of bad seventies comedy, complete with retrograde ethnic stereotypes and huge, jiggling breasts.
  14. Much of the dialogue is scissor-sharp--you would expect no less of Marber, who wrote "Closer"--but he is up against blunt and obvious material.
  15. Yet Oblivion is worth the trip. There are two reasons for this. The first is the cinematography of Claudio Miranda.
  16. It's essentially a skit idea, not a dramatic idea, and the best the movie does with it is to repeat it. What saves Bridesmaids is Feig's love of performers - in particular, his love of actresses.
  17. The action simply doesn't have the exhilarating, leaping precision that Spielberg gave us in the past... The joyous sureness is missing. [12 June 1989]
    • The New Yorker
  18. As it is, the movie's lethal climax, with its vague protest against corporate control--and hence in favor of art, music, drugs, or whatever--feels like a poor theft from a more conventional film.
    • 79 Metascore
    • 50 Critic Score
    The correspondences he wants us to see from up there start to look contrived, illusory. [27 Sept 1993, p.98]
    • The New Yorker
  19. When the credits were over at last, I sighed, and took away a moviegoer's fantasy of Ledger and Miller starting work again, far away from Venice and ball gowns, on something that might be worth seeing.
  20. The movie may have significant truths to impart, although I have my doubts, but it feels too inexperienced, too unworldly, to have earned the right to them.
  21. He can follow any train of thought, so he does, and it’s no surprise when the trains run out of steam.
  22. No surprise, then, that Goldblum seems a little lonely and marooned in the latest venture, which suffers from a nagging case of Smithlessness.
  23. LaBute's didactic purpose kills any possibility of frivolous entertainment. [19 May 2003, p. 94]
    • The New Yorker
  24. The Man Who Knew Infinity, based on Kanigel’s book, and directed by Matthew Brown, feels sluggish and stuck, and it hits an insoluble crux.
  25. There are too many rancors--hatred of life, hatred of others, hatred of their means to happiness--to contend with here, and the loveliness of the verse beats fruitlessly against them, as if against a wharf.
  26. There are two drawbacks here. One is a shortage of superior zombies, although where one goes to rent extra zombies I have no idea...Second, we have a serious shortage of fright. [30 June 2003, p. 102]
    • The New Yorker
  27. Tomorrowland is a bright and pliable sci-fi thriller that stiffens into a sermon. Can’t it just be fun?

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