The New Yorker's Scores

  • Movies
  • TV
For 1,386 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 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 In the Bedroom
Lowest review score: 0 Bio-Dome
Score distribution:
1,386 movie reviews
  1. Love Is Strange, however, is not about gay marriage. It is about a marriage that happens to be gay. If the film grows slightly boring, even that can be construed as an advance.
  2. Reichardt is trying, as she was in her previous film, "Wendy and Lucy," for a mood of existential objectivty. She takes us from the florid grandiosity of Western myth to the bone-wearying stress of mere life. [11 April, 2011 p.89]
    • The New Yorker
  3. This documentary film, about the deconstruction of a great American city, is surprisingly lyrical and often very moving.
  4. Source Code is a formally disciplined work -- a triumph of movie syntax -- made with rhythm and pace. Jones, unlike most commercial directors, accelerates the tempo without producing visual gibberish. [11 April, 2011 p. 88]
    • The New Yorker
  5. John Crowley’s film is high on its own briskness, and its glances at Irish backstreet life land it securely in the terrain that was mapped out by Stephen Frears’s “The Snapper” and “The Van.” [5 April 2004, p. 89]
    • The New Yorker
  6. That is what I admire in While We’re Young; it shows a director not so much mooning over the past, with regret for faded powers, as probing his own obsessions and the limits of his style.
  7. Inspiring though Marley is, however, it tends to deploy his music purely as an illustration of his life. Not once, as far as I could tell, do we watch a song being played straight through from beginning to end. [23 April 2012, p.82]
    • The New Yorker
  8. They also try to one-up each other as men, vying for professional success and for the attention of the invariably lovely women they meet. Sharks have duller teeth than Coogan and Brydon. Both movies, in fact, are about the impossibility — and the necessity — of male friendship.
  9. A deeply satisfying aesthetic and pedagogic experience--though Americans may find themselves wondering how such terrific children can grow into such irritating adults.
    • The New Yorker
  10. Part thriller, part character study, Arbitrage is Nicholas Jarecki's first feature, and it moves swiftly and confidently, with many details that feel exactly right. [24 Sept. 2012, p.98]
    • The New Yorker
  11. The whole enterprise goes far beyond pastiche, wreathing its characters in a film-intoxicated world.
    • 71 Metascore
    • 80 Critic Score
    It's Leary who's the real surprise here; his sincere, tough-guy performance is mesmerizing. He lifts the film above its familiar, claustrophobic environment into the gritty realism of very good urban drama.
  12. Ayer should have dropped the movie-within-a-movie, which is confusing in an unproductive way -- we share the men's point of view without it. [24 Sept. 2012, p. 98]
    • The New Yorker
  13. This austere production has fire enough; it captures the elemental Bronte passions. [14 March 2011, p. 79]
    • The New Yorker
  14. Watergate has never really gone away for those of us who lived through it, and, in Penny Lane's Our Nixon, a shrewdly edited collection of news footage and "home movies" taken by members of the Nixon White House staff, there they are again, our familiars. [9 Sept.2013, p.91]
    • The New Yorker
  15. She (Cotillard) is the center of attention throughout, yet what matters is her willingness to conspire in the Dardennes’ plea for justice.
  16. The director, John Dahl, has no intention to baffle or obscure; his objective is to scare the living daylights out of you, or, more pertinently, the dying headlights.
    • The New Yorker
  17. This is typical Suleiman, as anyone who saw his no less wondrous work "Divine Intervention" (2002), can testify.
  18. In one respect, though not a major one, it is a masterpiece: seldom will you find a better class of fadeout.
  19. After we’ve heard three or four versions of the joke, the words no longer shock. They describe not acts but fantasies, and the movie becomes a celebration of the infinite varieties of comic style.
  20. The 40-Year-Old-Virgin is a hit, I would warrant, because it’s truly dirty and truly romantic at the same time, a combination that's very hard to pull off.
  21. The movie is simultaneously a police procedural, an analysis of language and imagery, a philosophical debate about law and justice, and a very, very dry Romanian Martini--so dry that, at first, one doesn't quite taste much of anything.
  22. Antal has concocted a phantasmagoria-outlandish and jumpy-but, at the same time, the movie is three-dimensional and weighted, with a melancholy soulfulness that becomes surprisingly touching.
  23. Leviathan is a tale for vertiginous times, with the ruble in free fall. There must be thousands of stories like Kolya’s right now, lives folding and collapsing, upon which Zvyagintsev could cast his unfoolable eye. Despite that, he is not primarily a satirist, or even a social commentator; he is the calm surveyor of a fallen world, and Leviathan, for all its venom, never writhes out of control.
  24. Ray
    Vibrantly intelligent and tough-minded bio-pic.
  25. [Farhadi's] gift for pulling us deep into the story, and for conveying the major burdens of these supposedly minor lives, is unimpaired.
  26. Bellocchio gets the opera-buffa and the carnival side of Italian Fascism, and parts of the movie are excruciatingly funny.
  27. His (Francois Ozon) theme could hardly be less original (think of "Bonjour Tristesse"), but the tautness is that of a horror film. [5 May 2014, p.85]
    • The New Yorker
  28. Observant and true. The pleasure of it lies not in its emotions, which are distinctly on the tepid side, but in the intimacy of its reporting. [28 July 2003, p.94]
    • The New Yorker
  29. Combines pulse-of-the-city drama and comedy with an elaborate revenge plot, but mostly the movie is about New Yorkers talking.
    • The New Yorker

Top Trailers