The New Yorker's Scores

  • Movies
  • TV
For 1,403 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 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Osama
Lowest review score: 0 Bio-Dome
Score distribution:
1,403 movie reviews
  1. 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
  2. Never Let Me Go is in such good taste that we never feel any horror over the idea at the center of it.
  3. Sparks like that are scattered through, and yet the sad fact is that Jersey Boys is a mess. Parts of it feel half-finished.
  4. One of the more high-minded and painful follies of recent years.
  5. A confused, humorless grind.
  6. More like the Pelican Long-and-Drawn-Out: well over two hours of plots, subplots and super-subdialogue.
  7. This awkward and half-digested movie gives off a melancholy reek.
  8. What lends the film its grip and its haste is also what makes it unsatisfactory.
    • 54 Metascore
    • 40 Critic Score
    The pointlessness would be vastly more appealing if Wang and Auster didn't make such a point of it.
  9. A clunky and obvious comedy.
  10. The whole thing, shot in the manner of "Masterpiece Theatre," with a flaccid musical score to match, is itself hopelessly antiquated, greeting with very British giggles, and without a trace of honest curiosity, the needs of the women it seeks to honor. [21 May 2012, p.81]
    • The New Yorker
  11. 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
  12. I hesitate to ask, but did anyone actually tell McClane, before he arrived, that the Cold War is over?
  13. The movie is a technological and publicity triumph, and a calamity in every other way.
  14. Burroughs invented a primal fiction: a man winds up on another planet, and has to find his way among strange creatures. Sticking to that fable, which was central to "Avatar," might have saved John Carter, but Stanton loses its appealing simplicity in too many battles, too many creatures, too many redundant episodes. [26 March 2012, p.108]
    • The New Yorker
  15. Toss everything you can find, starting with roughly diced plots, into the blender, press "Pulse," and pray: such appears to be the method behind Tower Heist.
  16. The movie is pervaded by a cataclysmic sense of loss, but we don’t need to be chastised with the ideal of Christian love to understand that sex isn’t enough. And someone might tell Malick that beauty isn’t enough, either. Only a major filmmaker could have made To the Wonder, but nothing in it adds up.
  17. (Lurie's) a shameless, if skilled, manipulator of easy emotions. (29 Oct 2001, p. 93)
    • The New Yorker
  18. As director, Foster, working with Kyle Killen's screenplay, treats the goofy premise with a literal earnestness-as a family drama about separation and reunion-that seems all wrong. A little wit would have helped.
    • 58 Metascore
    • 40 Critic Score
    Disney may have seen lightning strike for the fifth consecutive time with this animated smash, but it's the weakest of the bunch: a bland, predictably p.c. story so taken up with teaching lessons about tolerance and the environment that it leaves hardly any room for laughter.
  19. With its restless parade of grainy closeups, the movie is a haze of retro rapture and wishful thinking, and, above all, a lost opportunity. We don't want to hear any more about ancient constitutional crises. We want to watch a three-way with a former King of England, in a bungalow. Madonna, of all people, missed a trick.
  20. It's not the most high-concept movie of the year, or indeed of any other. Due Date is most interesting, and most fearful, when it loiters on the threshold of the homoerotic.
    • 45 Metascore
    • 30 Critic Score
    Adapted from the Marvel Comics series, this movie lacks the mournfulness that sustains a good horror strip; it's trashy, but too deafening and invasive to have the appeal of good pulp.
  21. Apart from this going-postal moment, and a nice song from Frank the Pug (a resident alien from the original, played by the same dog), MIIB is pretty much a disaster -- repetitive beyond belief, and so busily inconsequential that it neuralizes your brain and leaves you with nothing to respond to. [8 July 2002, p.84]
    • The New Yorker
  22. The result is more or less a remake of the great scene in “Sherlock Jr.,” where a dozing Buster Keaton dreams himself through a shuffled sequence of backgrounds. Jumper is ten times as brutal, maybe a thousand times more costly, and eighty-four years late, but it’s a start.
  23. Streep can do anything. She is, of course, wasted on this elephantine fable; if only Doubt had been made in 1964, shot by Roger Corman over a long weekend, and retitled "Spawn of the Devil Witch" or "Blood Wimple," all would have been forgiven
  24. The movie is all whoosh and whack and abrupt closeups -- jerky digital punctuation. It's alienating experience, without emotional resonance or charm. [28 March 2011, p. 116]
    • The New Yorker
  25. This is trash pretending to serve the cause of history: a "Dirty Dozen" knockoff with one eye on "Schindler’s List."
  26. If the rest of the movie had been on Travolta's level of sly knowingness, it might have been a hip classic, rather than what it is -- a summertime debauch. [23 July 2012, p. 81]
    • The New Yorker
  27. Spanglish chokes on an excess of sincerity and guilt, and, in retrospect, its failure may turn out to be momentous for a sincere and guilty community--Hollywood liberals in a state of post-election dismay.

Top Trailers