The New Yorker's Scores
- Movies
- TV
For 1,221 reviews, this publication has graded:
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37% higher than the average critic
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1% same as the average critic
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62% lower than the average critic
On average, this publication grades 0.4 points higher than other critics.
(0-100 point scale)
Average Movie review score: 62
| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 620 out of 1221
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Mixed: 483 out of 1221
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Negative: 118 out of 1221
1,221
movie reviews
- By critic score
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Reviewed by
Anthony Lane 100
What Park has done is resurrect not just the spirit but, as it were, the bodily science of early comedy. Like Chuck Jones, and, further back, like Buster Keaton and Harold Lloyd, Park is unafraid of the formulaic--—of bops on the head, of the unattainable beloved, of gadgetry gone awry--because he sees what beauty there can be in minor, elaborate variations on a basic theme. -
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Reviewed by
Anthony Lane 100
The result is clean, delirious, and, yes, speedy—the best big-vehicle-in-peril movie since Clouzot's "The Wages of Fear." -
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Reviewed by
David Denby 100
In brief, Marshall Curry, the young director of Street Fight, has hit the documentary jackpot: the movie will become the inescapable referent for media coverage of the new campaign. And rightly so. -
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Reviewed by
David Denby 100
Greengrass’s movie is tightly wrapped, minutely drawn, and, no matter how frightening, superbly precise. -
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Reviewed by
Anthony Lane 100
For the first, and maybe the only, time this year, you are in the hands of a master. -
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Reviewed by
Anthony Lane 100
If there is any justice, this year's Academy Award for best foreign-language film will go to The Lives of Others, a movie about a world in which there is no justice. -
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Reviewed by
David Denby 100
Essentially a romantic adventure story with politics in the background--an old-fashioned movie, I suppose, but exciting and stunningly well made. -
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Reviewed by
David Denby 100
The sigh you will hear across the country in the next few weeks is the sound of a gratified audience: a great movie musical has been made at last. -
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Reviewed by
David Denby 100
One of the most impressive movies ever made about espionage. -
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Reviewed by
Anthony Lane 100
I have seen The Host twice and have every intention of watching it again. -
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Reviewed by
David Denby 100
In Ratatouille, the level of moment-by-moment craftsmanship is a wonder. -
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Reviewed by
David Denby 100
Schnabel’s movie, based on the calm and exquisite little book that Bauby wrote in the hospital, is a gloriously unlocked experience, with some of the freest and most creative uses of the camera and some of the most daring, cruel, and heartbreaking emotional explorations that have appeared in recent movies. -
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Reviewed by
David Denby 100
An enthralling and powerfully eccentric American epic. -
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Reviewed by
David Denby 100
I would be surprised if this brilliant and touching film didn't become required viewing for teachers all over the United States. Everyone else should see it as well--it's a wonderful movie. -
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Reviewed by
David Denby 100
A small classic of tension, bravery, and fear, which will be studied twenty years from now when people want to understand something of what happened to American soldiers in Iraq. If there are moviegoers who are exhausted by the current fashion for relentless fantasy violence, this is the convincingly blunt and forceful movie for them. -
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Reviewed by
David Denby 100
This production, directed by Michael Hoffman, is like a great night at the theatre--the two performing demons go at each other full tilt and produce scenes of Shakespearean affection, chagrin, and rage. -
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Reviewed by
David Denby 100
It's powerfully and richly imagined: a genre-busting movie that successfully combines the utmost in romanticism with the utmost in realism. -
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Reviewed by
David Denby 100
In its lived-in, completely non-ideological way, Winter's Bone is one of the great feminist works in film. -
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Reviewed by
David Denby 100
The movie is stunningly intelligent; the concluding passages, in which the game abruptly ends for both men, are frightening and, finally, very moving. -
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Reviewed by
David Denby 100
Many documentaries are good at drawing attention to an outrage and stirring up our feelings. Ferguson's film certainly does this, but his exposition of complex information is also masterly. Indignation is often the most self-deluding of emotions; this movie has the rare gifts of lucid passion -
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Reviewed by
David Denby 100
Hyper-articulate and often breathtakingly intelligent and always brazenly alive. I think it's easily the strongest American film since Clint Eastwood's "Mystic River," though it is not for the fainthearted.- Posted Feb 15, 2011
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Reviewed by
David Denby 100
Margin Call is one of the strongest American films of the year and easily the best Wall Street movie ever made.- Posted Oct 21, 2011
- Read full review
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- Posted Nov 21, 2011
- Read full review
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Reviewed by
Anthony Lane 100
The real reason to see The Kid with a Bike is that it offers something changelessly rare and difficult: a credible portrait of goodness. [19 March 2012, p.90]Posted Mar 12, 2012 -
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Reviewed by
David Denby 100
Nothing has exploded on the screen in recent years as violently as that mad quarrel in a tiny room - a room that is Israel itself. [16 April 2012, p.86]Posted Apr 9, 2012 -
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Reviewed by
David Denby 100
It's hard not to see Beasts as an expression of post-affluent America. And here's the surprise: the grinding Great Recession may never offer up a movie as happy, or as inspired by poetry and dream, as this one. [23 July 2012, p.80]Posted Jul 19, 2012 -
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Critic Score 90
Screenwriters Brian Koppelman and David Levien have given some crackerjack card-shark dialogue to two hot young actors—Matt Damon and Edward Norton—and together with John Dahl's atmospheric direction they've all made a dream of a poker movie. -
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Reviewed by
David Denby 90
The movie comes closer to pure happiness than anything else in the theatres at the moment, and it has an intriguing and moving subtext: the Cubans' buried but irrepressible love of things American. -
