The New Yorker's Scores

  • Movies
  • TV
For 1,582 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 Only Angels Have Wings
Lowest review score: 0 Bio-Dome
Score distribution:
1582 movie reviews
  1. Spurlock's documentary will tell you how, and whether, you should join the pilgrimage. Because I have never watched "Battlestar Galactica," and because of my absurd reluctance to dress up as Wonder Woman, I wouldn't last five minutes. [23 April 2012, p. 82]
    • The New Yorker
  2. Often quite beautiful. But Madagascar, which was directed by Eric Darnell and Tom McGrath, is mismanaged pretty much from start to finish.
  3. The topic is so grave, and the corralling of ancient Greek comedy so audacious, that you long for Chi-Raq to succeed. Sad to report, it’s an awkward affair, stringing out its tearful scenes of mourning, and going wildly astray with its lurches into farce.
  4. What makes Valkyrie more depressing than exciting is that it forces you to ask, against your judgment, what, exactly, he achieved.
  5. The only performer who seems at ease is Luchini, eternally hangdog, who in one juicy moment spies Gemma and her beau-to-be, at a market stall, and confesses not to envy but to “a strange kind of jubilation” at seeing Flaubert’s narrative lock into place.
    • 59 Metascore
    • 50 Critic Score
    The director, Neil Jordan, and his cinematographer, the great Philippe Rousselot, have given the movie an extraordinary seductive look, but Rice (who wrote the screenplay) doesn't provide enough narrative to keep the audience satisfied.
  6. Holy Motors is full of larks and jolts, but the movie is so self-referential that it's mainly aroused by itself. The audience, though eager to be pleased, is left unsatisfied. [22 Oct. 2012, p.88]
    • The New Yorker
  7. It is no mean feat to make a boring film about Jesse James, but Andrew Dominik has pulled it off in style.
  8. Never quite shrugs off its literary manners. [18 & 25 Feb 2002, p. 200]
    • The New Yorker
  9. The good news is that Matchstick Men is saved. Not by the plot, which entails a con so long that you can spot it coming a mile off, but by the presence of Alison Lohman. [22 September 2003, p. 202]
    • The New Yorker
  10. It’s a sad movie--funny, yet wounded and bewildered.
  11. Huckabees is the real thing--an authentic disaster--but the picture is so odd that it should inspire, in at least a part of the audience, feelings of fervent loyalty.
  12. I know that we are meant to be drawn into the undergrowth of these ordinary lives, and the long tale is neatly split into four symbolic seasons;...But do they and their fellow-Brits honestly swell the heart, or do they grate, exasperate, and finally grind us down?
  13. It's the first boring performance of Damon's career, although the bland inertia may not be his fault. The way Eastwood stages the "readings," they hold no terror for George.
  14. In short, the Sheridan of In America wants us to pity his characters for the rough ride that they endure, yet at the same time he traps them inside a bubble of the picturesque and the outlandish. Even if you like this movie, you have to ask: What has it done to deserve its title? [1 December 2003, p. 118]
    • The New Yorker
  15. The movie leaves us with the sense that, twelve years after Biggie Smalls's death, a lot of people are trying to extract whatever profit or pride they can from the chaotic life of a young man who was, as he well knew, a work in progress.
  16. Moderately enjoyable, in its exhausting way. [5 March 2012, p. 87]
    • The New Yorker
  17. Yet as art this revisionist movie, grimly effective as some of it is, doesn't hold a candle to the remarkable cycle of pictures in the late seventies and the eighties which captured the discordant character of a tragic war. [11 Mar 2002, p. 92]
    • The New Yorker
  18. The characters observe no boundaries, and neither does the movie--Baumbach hasn’t worked out the struggle between speaking and withholding, as Bergman did. People simply blurt out scathing remarks, so there’s little power in the revelations and betrayals. “Margot” is sensually as well as dramatically impoverished.
  19. The Crudup of "Almost Famous" was both hairier and more appealing than the tortured womanizer of World Traveler. Couldn't Cal have just stayed home, grown a mustache, and called his dad on the phone? [22 & 29 April 2002, p. 209]
    • The New Yorker
  20. All we are left with, in essence, is an unlikely love affair, performed by two actors so remorselessly skilled that, by the end, you can't see the love for the skill. [3 November 2003, p. 104]
    • The New Yorker
  21. Movies are good at this sort of brute physicality, but the trouble with The Impossible is that is also tells a rather banal story. [28 Jan. 2012, p.81]
    • The New Yorker
  22. The latest minimalist provocation from the infuriating but talented French director Bruno Dumont. [12 April 2004, p. 89]
    • The New Yorker
    • 46 Metascore
    • 50 Critic Score
    But ultimately all that melancholy stifles the characters.
  23. Even if you closed your eyes -- a tempting option -- you would still know that you were in the hollering presence of pain. The story is undiluted dread. [10 March 2003, p. 94]
    • The New Yorker
  24. Crystal Skull isn't bad--there are a few dazzling sequences, and a couple of good performances--but the unprecedented blend of comedy and action that made the movies so much more fun than any other adventure series is mostly gone.
  25. Yet, despite the good acting, the middle section of the film, set at the Capitol, is attenuated and rhythmless — the filmmakers seem to be touching all the bases so that the trilogy’s readers won’t miss anything.
  26. The problem with any allegorical plan, Christian or otherwise, is not its ideological content but the blockish threat that it poses to the flow of a story.
  27. The Bucket List will quickly be kicked into oblivion, but, at a lifetime-achievement-award ceremony, Nicholson’s tempest will fit nicely into a montage of Crazy Jack moments.
  28. Too much of the film feels like one of Balsan’s house parties: undriven, indulgent, quite at ease.

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