The New Yorker's Scores

  • Movies
  • TV
For 1,423 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 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Darwin's Nightmare
Lowest review score: 0 The Da Vinci Code
Score distribution:
1,423 movie reviews
    • 84 Metascore
    • 90 Critic Score
    The picture turns into a kind of stylized morality play about the right and the wrong ways for Irishmen to respond to distorted portraits of their character, and it's terrifically effective.
    • 60 Metascore
    • 90 Critic Score
    Barkin and DiCaprio are sensational. Every time De Niro threatens to take over the picture, they snatch our attention right back, and always with something casual: a look or a gesture that conveys how thoroughly this mother and son understand each other.
  1. This movie can hardly help being beautiful, in such a rarefied domain, but what matters is that it never looks merely beautiful. [28 Feb. 2011, p. 81]
    • The New Yorker
  2. Playful and happy and even naughty. It's partly a scientific brief, partly a song of sex, and it's enormously enjoyable.
  3. On reflection, and despite these cavils, we should bow to The Master, because it gives us so much to revere, starting with the image that opens the film and recurs right up to the end-the turbid, blue-white wake of a ship. There goes the past, receding and not always redeemable, and here comes the future, waiting to churn us up.
  4. An intimate epic.
    • The New Yorker
  5. A blood-soaked, hellish experience -- a midnight special for lovers of a violent genre -- yet it has been made with a mixture of ferocity and sweetness which leaves one exhausted but at peace. [27 January 2003, p. 94]
  6. The result demands a patient viewing, and maybe more than one; only after a second dose did I get the measure of Garrone's mastery, and realize how far he has surpassed, not merely honored, the author's courageous toil.
  7. It’s Cluzet’s intense performance that makes this genre piece a heart-wrenching experience.
  8. Though the facts in No End in Sight are well known, the movie is still a classic.
  9. What makes Amour so strong and clear is that it allows Haneke to anatomize his own severity.
  10. An exhausting, morbidly fascinating, and finally thrilling experience.
  11. Juno is a coming-of-age movie made with idiosyncratic charm and not a single false note.
  12. Jones gets everything--the gestures, the generosity, the mean streak, the bending of the ear to recitals of woe, whether across a lunch table or a prison cell. He even nails the voice, like that of a chorister caught running a racket with the incense.
    • 82 Metascore
    • 90 Critic Score
    Schlesinger, working from a script by Malcolm Bradbury, maintains a steady rhythm and a light, cheerful mood that seem to reflect the brisk sanity of the heroine.
  13. He stages the clashes of idiosyncratic characters that give the enterprise its life while observing the infinitesimal details of which that life is made—how to make new friends, how to hook up cable TV—as well as the ethereally intimate connections that result.
  14. Happy Valley is a devastating portrait of a community — and, by extension, a nation — put under a spell, even reduced to grateful infantilism, by the game of football.
  15. An enormously enjoyable hybrid, a romantic comedy set at the center of a caper movie. But the froth arrives with steel bubbles--the tone is amused and mordantly satirical.
  16. Kevin Macdonald has a terrific tale on his hands, and his telling of it, very British in its matter-of-factness, can barely be faulted; yet the facts drop away, and it becomes impossible not to read the movie symbolically--as a journey to the center of the earth, or farther still.
    • The New Yorker
  17. That is the quiet triumph of American Splendor: behind the playfulness, it cleaves to an oddly old-fashioned belief that a life, even a life as mangy as Mr. Pekar’s, gains in depth and darkness when it is crosshatched with the imaginary. The nerd needs no revenge. [18 & 25 August 2003, p. 150]
    • The New Yorker
  18. Quiety sumptuous movie. [15 April 2002, p. 98]
    • The New Yorker
  19. Filmed in a hot and bleached black-and-white, it manages to swerve from culture-clashing farce to alarming suspense without losing control.
  20. Easily the best American movie so far this year.
  21. One of the gentlest, most charming American movies of the past decade. Its subject is less food as something to cook than food as the binding and unifying element of dinner parties, friendship, and marriage.
    • 83 Metascore
    • 90 Critic Score
    Duvall's performance is so passionate, so energized, that it's almost eerie: is Sonny acting him or is he acting Sonny?
  22. The movie comes closer to pure happiness than anything else in the theatres at the moment, and it has an intriguing and moving subtext: the Cubans' buried but irrepressible love of things American.
  23. The virtues of Jackson's trilogy, thus far, have been pace and astonishment, which is almost the same thing. [6 January 2003, p. 90]
    • The New Yorker
  24. This slow and stoic movie, hailed as a gay Western, feels neither gay nor especially Western: it is a study of love under siege.
  25. This Franco-Italian-Scottish co-production, directed by Damian Pettigrew, is an extraordinarily controlled piece of film. [14 April 2003, p.88]
    • The New Yorker
  26. So smartly has del Toro thought his fable through, and so graceful is his grasp of visual rhyme, that to pick holes in it seems mean; yet Pan's Labyrinth is perhaps more dazzling than involving--I was too busy reading its runes and clues, as it were, to be swept away. It is, I suspect, a film to return to, like a country waiting to be explored: a maze of dead ends and new life.

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