The New Yorker's Scores

  • Movies
  • TV
For 1,345 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Host
Lowest review score: 0 The Da Vinci Code
Score distribution:
1,345 movie reviews
  1. The Wolf of Wall Street is a fake. It’s meant to be an exposé of disgusting, immoral, corrupt, obscene behavior, but it’s made in such an exultant style that it becomes an example of disgusting, obscene filmmaking. It’s actually a little monotonous; spectacular, and energetic beyond belief, but monotonous in the way that all burlesques become monotonous after a while.
  2. While re-creating the vast swing of German forces in and out of Russia, Kadelbach tries to capture the inner turmoil of two men. Call it half a victory.
  3. Nothing in the movie makes sense, but I prefer to think that Ride Along is just a badly told joke, rather than an insult to its audience.
  4. This literal-minded movie sells old pieties and washes away fear so thoroughly that it creates a new kind of fantasy, in which all's right with a very troubled world. [21 April 2014, p.110]
    • The New Yorker
  5. Transcendence is a muddle; it takes more creative energy than this to catch up to the present. [28 April 2014, p.86]
    • The New Yorker
  6. Skip Godzilla the movie. Watch the trailer.
  7. The movie, bad as it is, will do as a demonstration of a talented man’s freedom to choose different ways of being himself.
  8. The revelation is Wilde. A slender beauty with high cheekbones, she makes Anna a full-fledged neurotic, candid and demanding and changeable, shifting abruptly from snuggling happiness to angry defiance.
  9. The Last of Robin Hood, written and directed by Richard Glatzer and Wash Westmoreland, is often pallid and thin.
  10. The glum fact is that Gone Girl lacks clout where it needs it most, at its core.
  11. You should see it just for Chester — the adventurous sham, running ever deeper into a maze of his own devising.
  12. Reitman is a witty filmmaker, but here he seems a little disconnected, too.
  13. Enigma is, to be blunt, "No way Out" meets "Revenge of the Nerds," and the meetinhg is not a happy one. [22 & 29 April 2002, p. 208]
    • The New Yorker
  14. The urge to make viewers squirm is fair enough, but when it runs ahead of the urge to entertain -- when the jokes trail in the wake of the embarrassments -- you can't help leaving the theatre sad and soured. [4 Feb 2002, p. 82]
    • The New Yorker
    • 41 Metascore
    • 40 Critic Score
    Sandler lacks any kind of discernible comic energy; he's just meandering around the film waiting for something to happen, and almost nothing funny does.
  15. It's not boring (given the subject, how could it be?), but almost nothing in it works.
    • 46 Metascore
    • 40 Critic Score
    Bullock is refreshingly natural, as usual, but Affleck seems uncomfortable as the romantic lead--if she's light as a feather, he's stiff as a board. Marc Lawrence's implausible script and Bronwen Hughes's tin-ear direction do nothing to improve matters.
  16. (Lurie's) a shameless, if skilled, manipulator of easy emotions. (29 Oct 2001, p. 93)
    • The New Yorker
    • 54 Metascore
    • 40 Critic Score
    The stars lack any sort of chemistry, which is too bad, since the script, by the always unreliable Ron Bass (with William Broyles), is intended as a romantic cat-and-mouse fantasy.
    • 66 Metascore
    • 40 Critic Score
    When it's time to wrap up the mystery, the movie leaves too many of the plot's enigmas unresolved, and Branagh's insouciance loses its charm.
  17. Sadly, the men here come across as whiny and infantile, and Green is dangerously keen to stress their retardation. [17 & 24 2003, p.204]
    • The New Yorker
  18. It may have the melody, visage and basics of a Bollywood biggie, but truth be told, The Guru, despite it’s zest and lure, gives the far-off genus a bad wrap. [3 February 2003, p.98]
    • The New Yorker
  19. The movie that Josée Dayan has made about the Duras-Andréa affair is not a scandal. Unfortunately, it’s not much of anything but a solemn joke. [14 April 2003, p.88]
    • The New Yorker
    • 57 Metascore
    • 40 Critic Score
    Even diehard fans may long for something to hold the tacky flourishes together—a plot, or maybe even a guide that's more lucid than the Necronomicon.
  20. Illogical and glum. [30 Sept 2002, p. 145]
    • The New Yorker
  21. As a director, he seems incapable of trusting his actors to carry the mood, preferring always to lend them a backup -- jokes, fripperies, kooky camera angles -- that they don't require. [5 Nov 2001, p. 105]
    • The New Yorker
  22. Not meant to be realistic; it was shot by the director Steven Shainberg in a slow, dreamy neo-De Palma style and in candy colors, and Gyllenhaal has a Kewpie-doll silliness that almost makes the naughty parts of the movie fun. [23 Sept 2002, p. 98]
    • The New Yorker
  23. When Beatty and Hoffman doe their (deliberately hopeless) singing numbers, jerking like mechanical men, phrasing unmusically, going off-key, they don't have the slapstick skills for it. That's when you long for Martin and Murray, or some other comics. [1 June 1987, p.102]
    • The New Yorker
  24. After the complex buildup of tensions, the last ten minutes of the movie are a comic-pathetic letdown: the subdued acting and the trash-strewn street scenes lead to nothing more striking than the kind of overexplicit clichés heard in mediocre TV dramas. Even De Niro's discipline and skill can't save lines that should never have been spoken in the first place. [9 September 2002, p.162]
    • The New Yorker
  25. The Recruit is quick and tense, and some of it is fun, but I didn't believe a single thing in it, and the over-all effect of the movie is to make one depressed that the Christmas "art" season is over. [27 January 2003, p. 94]
    • The New Yorker

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