The New Yorker's Scores

  • Movies
  • TV
For 1,459 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 Memphis
Lowest review score: 0 Bio-Dome
Score distribution:
1459 movie reviews
  1. A seriously scandalous work, beautifully made, and it deserves a sizable audience that might argue over it, appreciate it -- even hate it. [1 April 2002, p. 98]
    • The New Yorker
  2. Is it robust and plain-speaking, proud of its comic swagger, or is there something tight-mouthed in its imperative, with a hint of “or else” hanging off the end? Either way, the life of Amy is dished up for our inspection.
  3. I have seen The Baader Meinhof Complex three or four times now, and, despite exasperation with its fissile form, I find it impossible not to be plunged afresh into this engulfing age of European anxiety.
  4. The movie re-creates Sam's miserable days with enough sympathy to come within hailing distance of such emblematic works of American disillusion as Arthur Miller's "Death of a Salesman" and Saul Bellow's "Seize the Day."
  5. When the Dostoyevskian drama kicks in, Allen’s venomous speculations take over, and bring to the fore a tangle of ghostly conundrums and ferocious ironies, as if the director, nearing eighty, already had one foot in the next world and were looking back at this one with derision and rue.
  6. On the surface, Apatow's films are about sex--obsessively, exclusively, and exhaustively. (This one lasts more than two hours.) But that is a clever feint, for their true subject is age.
  7. The sinews in Holly Hunter's neck and arms tighten like cables hauled in by a winch; she's all wired up, and in Richard LaGravenese's lovely comedy about loneliness in New York she uses the tension as a source of comedy.
  8. Shot by shot, scene by scene, Mann, whose recent work includes “Heat” and "The Insider," may be the best director in Hollywood. Methodical and precise, he analyzes a scene into minute components.
  9. Marvellous, though it is smaller in emotional range than such earlier Mike Leigh films as the goofy bourgeois satire "High Hopes" (1988), the candid and piercing "Secrets & Lies" (1996), and the splendid theatrical spectacle "Topsy-Turvy" (1999).
  10. The movie is expert piffle for grownups, directed with great energy by John McTiernan and written with verve by Leslie Dixon and Kurt Wimmer.
  11. Imagine my relief when Bob, Helen, and the kids, for all the nicety of their emotions, turned out to be--if I can risk a word that may be taboo in Pixar land--cartoons. Long may it stay that way.
  12. 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
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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
  20. 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.
  21. Consume with great caution, and with joy.
  22. [Silver's] densely textured images have many planes of action, which he parses with pans and zooms, revealing the volatile bonds of a group on the verge of combustion as well as the howling horrors of unremitting solitude.
  23. 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
  24. 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
  25. Like a finely wrought short story, and it's all but perfect.
  26. 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
  27. About Elly both clutches us tight and shuts us out, adding wave upon wave of secrets and lies.
  28. 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.
  29. It’s all fascinating. Gilroy is an entertainer.

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