The New Yorker's Scores

  • Movies
  • TV
For 1,439 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 Army of Shadows
Lowest review score: 0 Bio-Dome
Score distribution:
1,439 movie reviews
  1. The film is a casting coup, with Blanchett’s inherent languor —plus that low drawl of hers, a breath away from boredom — played off against the perter intelligence of Mara, whose manner, as always, is caught between the alien and the avian.
  2. This slow and stoic movie, hailed as a gay Western, feels neither gay nor especially Western: it is a study of love under siege.
  3. 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
  4. 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.
  5. It captures the city's bitter, wire-taut mood after September 11th, and I hope that Disney -- finds some way to bring this acrid and brilliant little picture to the large audience it deserves. [13 January 2003, p. 90]
    • The New Yorker
  6. No
    The best movie ever made about Chilean plebiscites, NO thoroughly deserves its Oscar nomination for Best Foreign Film.
  7. As a piece of acting, Ganz’s work is not just astounding, it’s actually rather moving. But I have doubts about the way his virtuosity has been put to use.
  8. Trashy and opportunistic as some of it is, Training Day is the most vital police drama since "The French Connection" or "Serpico."
    • The New Yorker
  9. On the scale of inventiveness, Inside Out will be hard to top this year. As so often with Pixar, you feel that you are visiting a laboratory crossed with a rainbow.
  10. Maysles endearingly reveals Apfel’s blend of blind passion and keen practicality, her unflagging enthusiasm for transmitting her knowledge to young people, and her synoptic view of fashion as living history.
  11. This is a bleak but mesmerizing piece of filmmaking; it offers a glancing, chilled view of a world in which brief moments of loyalty flicker between repeated acts of betrayal.
  12. Moreau's nocturnal wanderings are made unbearably poignant by an exquisite Miles Davis jazz score that became famous in its own right.
  13. Within the vigorous entertainment of Straight Outta Compton is a sharp-minded realism about the machines within the machines, the amplifiers of money and media that, behind the scenes and offscreen, play crucial roles in the flow of power.
  14. No one could mistake the movie for a documentary, but the picture has some of the rectitude of a good documentary--a tone of plainness without flatness.
  15. This is not just pliable filmmaking; it is an exercise in worldliness, in a feel for the cracks and warps of circumstance, which is all the more startling when you learn that the director is thirty-one.
  16. What could have been a narrow, cultish little picture, a mere retro-trip, fans out into a broader study of longing and belonging. [4 Oct 1993, p.214]
    • The New Yorker
  17. In truth, I’ve never seen so much lovemaking in an aboveground film, but the revelation, and great triumph, of Lou’s work is that these scenes are never pornographic--that is, never separated from emotion.
    • 66 Metascore
    • 80 Critic Score
    The film swings from farce to soap opera and back again—but it's got enough girl-power moments to make a Spice Girls fan happy.
  18. Cold Souls has its flaws, and it threatens to sag into a Paul-like morbidity, but Giamatti’s anxious mien and unspectacular shamblings have never been better deployed.
  19. This mania is what Marvel followers have hungered for, and it would be fruitless to deny their delight. As Loki says to a crowd of earthlings, "It is the unspoken truth of humanity that you crave subjugation." We do, Master, we do.
  20. Still, it is a writer's privilege to trim and tailor at will, and everybody loves a duel. It would take the dullest of curmudgeons not to enjoy the surge of this saga, accurate or not, and the excesses of what already feels like a distant age. [30 Sept. 2013, p.84]
    • The New Yorker
  21. Get Low is deftly played, and it rarely mislays its ambling charm, but what a forbidding fable it could have been if the truth about Felix Bush, rather than emerging into sunlight, had slunk back into the woods.
  22. The Barbarian Invasions might be called an idyll of death. Without excessive sentiment (but without slighting sentiment, either). [24 November 2003, p. 113]
    • The New Yorker
  23. Headhunters is admirably swift in style, and dangerously silly in what it begs us to swallow, but at its heart is a consummate depiction of a permanent type - the proud and prickly male, thrown back on his desperate wits. Small may not be beautiful, but it lives.
  24. Solondz will never be meek and mild, and there are spasms of shame and awkwardness here that will make even devoted viewers wince as sharply as ever. But the movie, his best to date, and a sequel of sorts to "Happiness," feels drenched in an unfamiliar sadness.
  25. Langella is superb, and Starting Out in the Evening is a classy film.
  26. There are passages of gravity and grace here that few other directors could unfurl. [27 Jan. 2014, p. 78]
    • The New Yorker
  27. Coraline is a beautifully designed, rather scary answered-prayer story.
    • 72 Metascore
    • 80 Critic Score
    Oddly, the funniest performer here is Gene Hackman, playing an aggressively straight, family-values-spouting politician. Hackman's deadpan inanity is sublimely comic.
  28. What matters most about The Homesman, which Jones co-wrote and directed, is how willingly, and movingly, he cedes the stage to Hilary Swank, as Clint Eastwood did in “Million Dollar Baby.”

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