The New Yorker's Scores

  • Movies
  • TV
For 1,942 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 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Voyage of Time: Life's Journey
Lowest review score: 0 The Da Vinci Code
Score distribution:
1942 movie reviews
  1. Jasper hits every note of sentimental manipulation in a tale that’s as fleetingly affecting as it is insubstantial and mechanical.
  2. Burdge infuses her rigidly and scantly defined role with tremulous vulnerability, and Silver, aided by the splashy palette of Sean Price Williams’s cinematography, evokes derangement with a sardonic wink.
  3. Richardson in particular vaults to the forefront of her generation’s actors with this performance, which virtually sings with emotional and intellectual acuity.... Few performances—and few films—glow as brightly with the gemlike fire of precocious genius.
  4. The movie’s most potent closeup is of a black policewoman, in a line confronting protesters; if you can film her, why not learn what she has to say? Folayan and Davis, however, hold no brief for even-handedness, and, for those who dominate the screen, any sign of temperance, even in a President, is treated with contempt.
  5. The problem for Detroit is that, when contrivance is required, it tends to jut out... Where the movie scores, by contrast, is in those casual deeds that reveal the shape into which lives have been bent.
  6. Spunky yet maudlin, grim yet heartwarming, the movie—written by Mooney and Kevin Costello—is mainly a batch of hollow gestures.
  7. The film strains to achieve a breathless panache and a lurid swagger for which David Leitch’s direction is too heavy-footed and literal.
  8. Although Dunkirk is not as labyrinthine as Nolan’s “Memento” (2000) or “Inception” (2010), its strike rate upon our senses is rarely in doubt, and there is a beautiful justice in watching it end, as it has to, in flames. Land, sea, air, and, finally, fire: the elements are complete, honor is salvaged, and the men who were lost scrape home.
  9. The movie dramatizes the destruction of a society from within that society. Watching “Hell on Earth” is not an easy experience; I can’t recall another documentary with so many corpses. It’s a grief-struck history of cruelty, haplessness, and irresponsibility—a moral history as well as a history of events.
  10. There’s neither pity nor sentimentality in Gomes’s populism; the highest strain of modern humanism faces up to the first person.
  11. Few movies this year will be more likely to molest your sleep.
  12. The main problem with War for the Planet of the Apes is that, although it rouses and overwhelms, it ain’t much fun.
  13. The film locates extraordinary political and cultural tributaries, marked by archival footage, that arise from the history of Dawson City and the gold rush.
  14. Okja is a fairy tale of sorts, though too foulmouthed for children; it nips from pastoral bliss to a terrorist pig-napping by the Animal Liberation Front; and it takes the eco-menace from Bong’s sublime “The Host” (2006) and replays the fright as farce, with a spirited turn from Tilda Swinton, as the company boss, and, I’m afraid, a barely watchable one from Jake Gyllenhaal, as a drunk TV presenter.
  15. The ghost, on the other hand, grows ever more imposing, and the movie’s most touching spectacle — it’s also the funniest — is that of C standing at the window and waving to another ghost, in the adjacent house.
  16. Travel-folder footage of Rio mixed with father-daughter incest (in a disguised form)...Most of the movie is an attempt to squirm out from under its messy erotic-parental subject.
    • The New Yorker
  17. The writer and director, Ana Lily Amirpour, delivers this imaginative tale as a simplistic allegory of the haves and the have-nots; she ruefully delights in the wasteland’s postindustrial wreckage while leaving characters’ thoughts and motives blank.
  18. The absolute tastelessness of Bay’s images, their stultifying service to platitudes and to merchandise, doesn’t at all diminish their wildly imaginative power.
  19. It would be a shame if the film were to be seen only by those already interested in French cinema. Anyone with an eye for grace, industry, resilience, rich shadows, and strong cigarettes should go along. Like the kid on that terrace in Lyon, you see the light.
  20. The good news is that, although Baby Driver is not much of a movie, it is an excellent music video — a club sandwich for the senses, lavishly layered with more than thirty songs.
  21. Although The Big Sick breaks new ground as it delves into cultural conflicts, there are patches of the drama that give you pause.
  22. There is barely a graceless frame in the whole affair.
  23. Like Ken Loach, Arteta is clearly confident of preaching to the converted, and of whipping up indignation at those who mean us harm. Thanks to his leading players, however, the movie grows limber, ambiguous, and twice as interesting, and the sermon goes astray.
  24. The emotional wallop grows more zealous with almost every sequence, and Loach’s refusal to go easy on us is as stubborn as it was when he made “Cathy Come Home.”
  25. Thank heaven for Dwayne Johnson, whose foot-wide smile will not be switched off, and who saves the life of the movie. Whether it deserves to be saved is another matter.
  26. Filming cityscapes and intimate gestures with avid attention, adorning the dialogue with deep confessions and witty asides, Piñeiro conjures a cogently realistic yet gloriously imaginative vision of youthful ardor in love and art alike.
  27. This film is at once sumptuous with thrills and surplus to requirements. Let sleeping aliens lie.
  28. The hallucinatory power of ayahuasca and the incantatory lure of rituals fuse with existential dread in this darkly hypnotic drama.
  29. Schreiber moves with bearish stolidity, even when boxing, and nothing is more poignantly delayed than Chuck’s realization that most of his wounds were self-inflicted.
  30. Gunn decides to treat the quest for meaning seriously — a lethal move that not only leads to the noisy palaver of the climax but also undermines Chris Pratt, who likes to hold these movies at arm’s length, as it were, and to probe them for pomposity.

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