The New Yorker's Scores

  • Movies
  • TV
For 1,423 reviews, this publication has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% 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: 63
Highest review score: 100 The Good Shepherd
Lowest review score: 0 Bio-Dome
Score distribution:
1,423 movie reviews
  1. Ali
    Michael Mann is a fluent, evocative filmmaker, and the movie is well written, expertly staged, and beautifully edited. [24 & 31 Dec 2001, p. 126]
    • The New Yorker
  2. Eastwood has become tauntingly tough-minded: “You’re enjoying this, aren’t you?” he seems to be saying. And, with the remorselessness of age, he follows Chris Kyle’s rehabilitation and redemption back home, all the way to their heartbreaking and inexplicable end.
  3. Offers considerable insight into the Nixon mystery, without solving it; the movie is fully absorbing and even, when Nixon falls into a drunken, resentful rage, exciting, but I can't escape the feeling that it carries about it an aura of momentousness that isn't warranted by the events.
  4. At last, a good big film. The legacy of the summer, thus far, has been jetsam: moribund movies that lie there, bloated and beached, gasping to break even. But here is something angry and alive: Elysium.
  5. Though Lee still can't resist a fancy visual trick from time to time, Clockers is, at its best—in its compound of the jaunty and the depressing—his ripest work to date.
    • 83 Metascore
    • 80 Critic Score
    What is unambiguous is the campaign that Pina mounts, with joy and without fuss, against age discrimination; by law, the film should be screened, on a monthly basis, for Hollywood casting agents.
  6. There is no whodunit here — the horror is plain in the opening shots — and the how is presented with great restraint, but the why remains veiled and mysterious long after the film has ended.
  7. At first, you may think, Oh, it’s that damn prison movie again, but Starred Up has a much more intimate texture of affection and disdain than most genre films. You’re held by every exchange, every fight.
  8. At the end of the movie, when Gloria looks at herself appraisingly in a mirror, we seem to be seeing her for the first time. [20 Jan. 2014, p.79]
    • The New Yorker
  9. For many of this movie's likely viewers, the sting built into Food, Inc. is the realization that, without unending effort, they are not all that much freer in their choices than that hard-pressed family.
  10. Consume with great caution, and with joy.
  11. Peter Jackson has not really made a movie of The Lord of the Rings; he has sprung clear of it to forge something new. He has drawn a deep breath, and taken the plunge. [5 January 2004, p. 89]
    • The New Yorker
  12. The monologue that Goldblum delivers there, grand with illusion and larded with mouthfuls of canapes, is entirely delicious -- roguish and absurd, but lending the film a zest that it was in danger of losing. [17 March 2014, p.79]
    • The New Yorker
  13. Like a finely wrought short story, and it's all but perfect.
  14. Enemy may crawl and infuriate, and, boy, does Villeneuve get rid of the grin. But the film sticks with you, like a dreadful dream or a spider in the bedclothes. Shake it off, and it's still there. [17 March 2014, p.78]
    • The New Yorker
  15. About Elly both clutches us tight and shuts us out, adding wave upon wave of secrets and lies.
  16. For all its loose ends and unanswered practicalities, its wild urgency is thrilling. It defies the expectations fostered by Lee’s prior films; it steps back even as it moves inward. It is, in the modern-classic sense, a late film.
  17. It’s all fascinating. Gilroy is an entertainer.
  18. The updating of the story is thin; some dramatizations, though short, are distracting, but the over-all impression, of a time of constant meetings and conversations that gave voice to stifled frustrations and united untapped energies, remains visionary and heroic.
    • The New Yorker
  19. There aren't many performers who can deliver the fullness of heart that such a plot demands, but Winslet is one of them. [22 March 2004, p. 102]
    • The New Yorker
  20. The beautiful joke of Factotum is that Dillon is nobility itself.
  21. Contagion is serious, precise, frightening, emotionally enveloping.
  22. The pace of the movie is rapid, almost hectic, the touch glancing. Until the confrontation between Frank and Richie at the end, nothing stays on the screen for long, although Scott, working in the street, or in clubs and at parties, packs as much as he can into the corners of shots, and shapes even the most casual scenes decisively.
  23. The Counterfeiters is a testament to guile. Ruzowitzky scored the picture with tangos, and the tangos are meant to be Sally’s music--seductive, insolent, triumphant.
    • 62 Metascore
    • 80 Critic Score
    F. Gary Gray, the young director of the 1996 female heist film "Set It Off," runs with a good script (by James DeMonaco and Kevin Fox) and gives us the summer's first action film that's as rich in character as it is in suspense.
  24. Anderson's great gift is to catch the generations as they intersect. [4 & 11 June 2012, p 132]
    • The New Yorker
  25. This is a movie of great spirit and considerable charm. It’s about the giddiness of promise--the awakening of young talent, after years of the Depression, to a moment when anything seems possible.
  26. To Rome with Love is light and fast, with some of the sharpest dialogue and acting that he's put on the screen in years. [2 July 2012, p.84]
    • The New Yorker
  27. Less fruitful is the casting of Michelle Pfeiffer as May's older cousin, the mysterious Countess Olenska, with whom Archer falls hopelessly in love. With her silly blond curls, Pfeiffer looks more plaintive than the dark exotic of Wharton's imagination.
  28. There are times when the movie's entertainment value verges on the scandalous. [4 November 2002, p. 110]
    • The New Yorker

Top Trailers