The New Yorker's Scores

  • Movies
  • TV
For 1,539 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 The Manchurian Candidate
Lowest review score: 0 The Da Vinci Code
Score distribution:
1539 movie reviews
  1. Is it a great movie? I don't think so. But it's a triumphant piece of filmmaking -- journalism presented with the brio of drama. [24 Sept 1990]
    • The New Yorker
  2. Yet, even if the movie is a fake as a fight picture, it's still a decent commercial entertainment.
    • 42 Metascore
    • 70 Critic Score
    The surprisingly witty script was worked on by a squadron of writers, including Robert Towne.
  3. Nightcrawler has patches of clunkiness, to be sure, and Lou’s face-off at a police station, near the end, feels graceless and unnecessary. Yet the movie is quite something, and, despite its title, it doesn’t really crawl.
  4. The comedy is brutal and paper thin, but that is less bothersome than the ending of the movie, which abruptly changes its tone.
  5. What is missing from the film is wit—the deep wit that comes from playing off species and environments against each other.
  6. The movie has an air of momentousness, yet most of it is conventional, though well-directed, pop mayhem.
  7. Bob Nelson wrote the script, which Payne has been mulling over for nine years, and some of it, enhanced by the deliberate pacing of his direction, is funny in a deadpan, black-comedy way. But the absurdist atmosphere feels thin: the movie is like a Beckett play without the metaphysical unease, the flickering blasphemies and revelations.
  8. Most of the innumerable sequels were tripe, but this one has a freshness -- even a kind of wit -- mixed in with all the blood.
  9. I wouldn't trust him (Downey) to look after my handkerchief, but I'll watch him in anything, and that is why Kiss Kiss, Bang Bang--smug as it is, and more like a day in the reptile house than a night at the movies--remains a slithery treat.
  10. Extravagant care is taken with minutiae, and the directors, Chris Buck and Jennifer Lee, whistle through the first twenty minutes of the plot with a controlled giddiness that would leave many live-action adventures staggering in their tracks. Yet what a curious plot it is.
  11. As Mostow proved in “Breakdown” and “U-571,” he can churn out excitement at a steady pace; whether he can handle dread--altogether a more unstable material--is another matter. [14 & 21 July 2003, p. 85]
    • The New Yorker
  12. The attraction of the movie is its friendly, light tone, its affectlessness, and its total lack of humanity. [6 Aug 1984, p.72]
    • The New Yorker
  13. In truth, Mr. Holmes is not Holmesian at all. It is Jamesian, as shown by a wonderful encounter between Kelmot and Holmes — an attraction of opposites, you might say — on a garden bench.
  14. Timbuktu is hard to grasp, as befits the sand-blown setting and the mythical status of the name. The more you try to define the movie, the faster it sifts away.
  15. 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.
  16. 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
  17. 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
  18. 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.
  19. 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
  20. 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
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. An amiable family comedy one step above a TV sitcom (and several steps below “Moonstruck.”
  27. Nobody does shrewishness better than McEwan. [8 August 2003, p. 84]
    • The New Yorker
  28. 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.

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