The New Yorker's Scores

  • Movies
  • TV
For 1,693 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 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Margin Call
Lowest review score: 0 The Da Vinci Code
Score distribution:
1693 movie reviews
  1. A trim thriller with an enviable lack of grandeur. [21 Jan. 2013, p.79]
    • The New Yorker
  2. Robert Altman, in a benevolent mood, has made a lovely ensemble comedy from Anne Rapp's original screenplay.
  3. The movie is smart and tightly drawn; it has a throat-gripping urgency and some serious insights, and Scott has a greater command of space and a more explicit way with violence than most thriller directors.
    • 41 Metascore
    • 70 Critic Score
    The car chases are unimpeachable.
  4. The joke buried in Tabloid is that this sexual obsessive is very likely not a sexual person at all.
  5. Lee Hirsch and Cynthia Lowen, the filmmakers who made the moving documentary Bully, don't try to answer any questions. They avoid charts and graphs, talking heads and sociology. Their approach is more direct and, perhaps, more effective.
  6. A short, meaningless blast of fun from Disney.
  7. The result is a sad suburban pastoral, a strain of film you don't see much of, or not enough; it may feel somewhat stretched, and Rush's additions to Carver barely push it past ninety minutes, but anything hectic or hasty would have spoiled the mood. [16 May 2011, p. 132]
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  8. A lyrical throwback to such movies as René Clément's "Forbidden Games" (1952) and other works of the humanist European cinema of a half century ago. [12 April 2003, p. 89]
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  9. Sappy but engaging. [7 & 14 July 2014, p.95]
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  10. The project lacks the variety of sensuous pleasures that a great movie has to provide.
  11. In serious roles, Weisz can be stiff-backed and righteous, but here, doing comedy, she appears to be a major actress eager to reveal everything she’s been holding inside.
  12. What the novels leave us with, and what emerges more fitfully from this film, as if in shafts of sunlight, is the growing realization that, although our existence is indisputably safer, softer, cleaner, and more dependable than the lives led by Captain Aubrey and his men, theirs were in some immeasurable way better. [17 November 2003, p. 172]
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  13. Even though we can see it coming, this gruff, inarticulate, half-embarrassed love between men, arrived at after many setbacks, is one of the stories that action movies never tire of telling and that many of us, even though we may laugh it off the next day, still find moving. [17 & 24 June 2002, p. 176]
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  14. Precisely thirty-six times more interesting than “The Girl on the Train.” Where the conceit of that movie feels timid, cooked up, and culturally thin, Anvari’s is nourished by a near-traumatic sense of history, and, in terms of feminist pluck, Rashidi’s presence, in the leading role, is both gutsier and more plausible than the combined efforts of all the main performers in Taylor’s film.
  15. Even as this fine documentary unveils the "mystery woman," as she once described herself, it remains intent on the molding of her myth. [31 March 2014, p.80]
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  16. This is not life imitating art. This is art going to bed with life and staying there for the rest of the afternoon. [31 March 2014, p.81]
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  17. To my eyes, the whole thing past in a blur of fabulous collage. [2 September 2002, p. 152]
    • The New Yorker
    • 71 Metascore
    • 70 Critic Score
    Duvall and Jones wear their roles like broken-in work clothes, and the screenplay has a drawling Southern rhythm that's very pleasing.
    • 88 Metascore
    • 70 Critic Score
    It's a pretty shameless outlaw fantasy; the feminist justification that the script provides for the heroines' behavior doesn't make their actions any less preposterous.
  18. The Darjeeling Limited works best when the level of artifice is at its highest and most overt.
  19. There is no narrator; rather, we are invited to eavesdrop on--or to get an earful from--such figures as Hassan Ibrahim, a jovial reporter with Al Jazeera, and Samir Khader, one of the network’s senior producers. [24 May 2004, p. 97]
    • The New Yorker
  20. The movie version of the hit Broadway musical Hairspray is perfectly pleasant--I smiled to myself all the way through it--but it’s not as exhilarating as the show.
  21. Menzel strings his sequences together with great affection and skill, but the movie, an absurdist picaresque, doesn't have much cumulative impact, and perhaps the hero is too much a lightweight to hold an epic together.
  22. The drama is stuck with that ethical rigor, and we are left with a near-heretical irony: thanks to this admiring tribute, our hero gets top billing at last, but was he not more beguiling, somehow, as a legendary figure in the shadows?
  23. Defiance, as it turns out, makes insistent emotional demands, and those who respond to it at all, as I did, are likely to go all the way and even come out of it feeling slightly stunned.
  24. I am casting no aspersions on the director when I say that The Saddest Music in the World is a work of manic depression. The mania is there in the frenzied editing, the inability to concentrate on a detail for more than a few seconds; and the depression is there in the forcible lowering of spirits. [10 May 2004, p. 107]
    • The New Yorker
  25. As “Eight Days a Week” springs from color to black-and-white, and as frenzied action is intercut with stills, we get a delicious sense of doubleness. The Beatles now belong to an honored past, stuck there like an obelisk, and yet here they are, alive—busting out all over, time and time again. Yeah, yeah, yeah.
  26. It's an odd movie - mild in tone and circumspect, yet darkly funny, and done in a hybrid form that I don't think has been used so thoroughly before.
  27. The new movie continues the "Bourne" tradition of exciting, reality-based thrillers, but when the series lost its star it lost most of is soul. [13 & 20 Aug. 2012, p.96]
    • The New Yorker

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