The New Yorker's Scores

  • Movies
  • TV
For 1,362 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 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Margin Call
Lowest review score: 0 Bio-Dome
Score distribution:
1,362 movie reviews
  1. I can’t think of another film portrait of higher education that matches this one for comprehensiveness, intellectual depth, and hope.
  2. Ida
    This compact masterpiece has the curt definition and the finality of a reckoning—a reckoning in which anger and mourning blend together.
    • 54 Metascore
    • 90 Critic Score
    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.
  3. Quiety sumptuous movie. [15 April 2002, p. 98]
    • The New Yorker
  4. 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.
  5. The most fruitful twist in Late Marriage is that at its core lies not a snippy domestic farce but a prolonged, dirty, and wholly credible sex scene, which starts and stops and starts again, and in which argument and arousal are entwined like limbs. [27 May 2002, p.124]
    • The New Yorker
  6. At its best, the movie is an exhilarating, surf-topping ride. With Minnie Driver providing the voice of a deliciously flirtatious Jane.
  7. It's a pleasure to find a thriller fulfilling its duties with such gusto: the emotions ring solid, the script finds time to relax into backchat, and for once the stunts look like acts of desperation rather than shows of prowess.
    • 87 Metascore
    • 90 Critic Score
    A handsome and intelligent piece of work: a faithful, well-paced, and carefully crafted dramatization of a very good story.
  8. That is the quiet triumph of American Splendor: behind the playfulness, it cleaves to an oddly old-fashioned belief that a life, even a life as mangy as Mr. Pekar’s, gains in depth and darkness when it is crosshatched with the imaginary. The nerd needs no revenge. [18 & 25 August 2003, p. 150]
    • The New Yorker
  9. By the time of the closing shot -- twists of fog rising like spectres from a leaden sea -- even the most stubborn viewer will be lying back in a state of happy hypnosis. [16 December 2002, p. 106]
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  10. This movie is an emotionally coherent work--a burning experience of desperation and fleeting exhilaration. [1 September 2003, p. 130]
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  11. In this handsomely traditional movie, Kevin Costner has tried to fix the Western myth for all time in the stern contours of Duvall’s face and the guttural beauty of his voice. [1 September 2003, p. 130]
    • The New Yorker
  12. The virtues of Jackson's trilogy, thus far, have been pace and astonishment, which is almost the same thing. [6 January 2003, p. 90]
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  13. Trashy and opportunistic as some of it is, Training Day is the most vital police drama since "The French Connection" or "Serpico."
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  14. A blood-soaked, hellish experience -- a midnight special for lovers of a violent genre -- yet it has been made with a mixture of ferocity and sweetness which leaves one exhausted but at peace. [27 January 2003, p. 94]
  15. Too long, but it feels sturdy and stirring – there's an old fashioned decency in the way that it exerts, and increases, its claim upon our feelings. [26 Sept 1994, p.108]
    • The New Yorker
  16. The casting of Minority Report may be the smartest in the history of Spielberg. [1 July 2002, p. 96]
    • The New Yorker
  17. I cannot remember a major movie, not even "The Godfather," that forced me to peer so intently into the gloom. [2 December 2002, p. 87]
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  18. The movie turns into a serious and rather audacious study in the sexiness of a nonsexual relationship, though by the end the audience may be rooting for the two to quit risking life and limb and just go to bed together. [15 July 2002. p. 90]
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  19. The architecture of Pulp Fiction may look skewed and strained, but the decoration is a lot of fun. [10 Oct 1994, p.95]
    • The New Yorker
  20. An intimate epic.
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  21. Consistently beautiful and often exciting -- despite some dead passages here and there, it's surely the best big-budget fantasy movie in years. [24 & 31 Dec 2001, p. 126]
    • The New Yorker
  22. There is something horribly apt in the way Fincher closes the drama in joyless exhaustion, leaving you certain that there will be a sequel to these events, not onscreen but in someone's home, tonight. [8 April 2002, p. 95]
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  23. This Franco-Italian-Scottish co-production, directed by Damian Pettigrew, is an extraordinarily controlled piece of film. [14 April 2003, p.88]
    • The New Yorker
  24. Moonstruck isn't heartfelt; it's an honest contrivance – the mockery is a giddy homage to our desire for grand passion. With its special lushness, it's a rose-tinted black comedy. [25 Jan 1988, p.99]
    • The New Yorker
  25. As with "Together," Moodysson has pulled off a staggering dramatic coup, and again we are forced to ask: How does he do it? [21 & 28 April 2003, p.194]
    • The New Yorker
  26. It captures the city's bitter, wire-taut mood after September 11th, and I hope that Disney -- finds some way to bring this acrid and brilliant little picture to the large audience it deserves. [13 January 2003, p. 90]
    • The New Yorker
  27. All in all, Pirates of the Caribbean is the best spectacle of the summer: the absence of pomp is a relief, the warmth of the comedy a pleasure. [28 July 2003, p.94]
    • The New Yorker
  28. A new kind of affectionate satire which is all but indistinguishable from an embrace. [5 May 2003, p. 104]
    • The New Yorker

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