The New Yorker's Scores

  • Movies
  • TV
For 1,377 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 1.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Social Network
Lowest review score: 0 Bio-Dome
Score distribution:
1,377 movie reviews
  1. As the real-life Ronald Woodroof, he (Mcconaughey) does work that is pretty much astounding. [4 Nov. 2013, p.116]
    • The New Yorker
  2. 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]
    • The New Yorker
  3. The profuse pleasures of Boyhood spring not from amazement but from recognition — from saying, Yes, that’s true, and that feels right, or that’s how it was for me, too.
  4. Hancock suggests new visual directions and emotional tonalities for pop. It's by far the most enjoyable big movie of the summer.
  5. Some of the menacing atmosphere, and even a few scenes, descend from the first two “Godfather” movies. But, in fact, Chandor has done something startling: he has made an anti-“Godfather.”
  6. This is a leap into grandeur.
  7. A sombrely beautiful dream of the violent Irish past. Refusing the standard flourishes of Irish wildness or lyricism, Loach has made a film for our moment, a time of bewildering internecine warfare.
  8. 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
  9. “Inside Llewyn Davis” and “Nebraska” are the current standards of what a serious Hollywood movie looks like. American Hustle offers so many easy pleasures that people may not think of it as a work of art, but it is. In the world that Russell has created, if you don’t come to play you’re not fully alive. An art devoted to appetite has as much right to screen immortality as the most austere formal invention.
  10. Tucked away inside the grandeur, though, and enlivened by jump cuts, is a sharp, not unharrowing story of a father and son, and, amid one's exasperation, there is no mistaking Malick's unfailing ability to grab at glories on the fly.
  11. This is cinema, more rhetorical, spectacular, and stirring than cable-TV drama: again and again, DuVernay’s camera (Bradford Young did the cinematography) tracks behind characters as they march, or gentles toward them as they approach, receiving them with a friendly hand.
  12. 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]
    • The New Yorker
  13. Werner Herzog may lack heroes, nowadays, who seem adequate to his fierce capacity for wonder. When occasion demands, however, he can still turn the world upside down.
  14. The casting of Minority Report may be the smartest in the history of Spielberg. [1 July 2002, p. 96]
    • The New Yorker
  15. Seldom has our modern taste for the confessional mode been so smartly explored. [20 May 2013, p. 123]
    • The New Yorker
    • 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.
  16. A satirical comedy--ruthless and heartbreaking, but a comedy nonetheless. The movie is also about disintegration and the possibility of rebirth. In other words, it’s a small miracle.
  17. 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]
    • The New Yorker
  18. What makes the movie extraordinary, however, is not so much the portrait of a poet as the accuracy and the detail of the period re-creation.
  19. 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
  20. 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
  21. The eye must travel not merely through the earth's crust but backward in time, as well. Indeed, you could argue that Herzog has succeeded in making the world's first movie in 4-D. [2 May 2011, p. 88]
    • The New Yorker
  22. The most consuming and most exhausting of its kind since “The Dreamlife of Angels,” fifteen years ago. From the moment when Adèle first catches sight of Emma, on a busy crosswalk, the movie restores your faith in the power of the coup de foudre and yet redoubles your fear of its effect; love, like lightning, can both illuminate and scorch. The problems of two little people, it turns out, do indeed amount to a hill of beans. Some hill. Some beans.
    • 78 Metascore
    • 90 Critic Score
    A modest, skillful, unfussy genre piece that tells an exciting story and lets its more serious concerns remain just below the surface, gently complicating the smooth-flowing rhythms of the narrative.
  23. This movie is an emotionally coherent work--a burning experience of desperation and fleeting exhilaration. [1 September 2003, p. 130]
    • The New Yorker
  24. 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
    • 71 Metascore
    • 90 Critic Score
    Unlike the heavy-handed "Good Will Hunting," this gifted-Boston-misfit romance floats, adroitly mixing thoughtfulness, farce, and surprise.
  25. The writer and director, Asghar Farhadi, has thus created the perfect antithesis of a crunching disaster flick, such as "2012," which was all boom and no ripple.
  26. An uproarious and touching picture.
  27. If the notoriously squeamish and slumberous members of the Academy can pull themselves together and face Monster, they should know whom to vote for as the best actress of the year. [26 January 2004, p. 84]
    • The New Yorker

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