The New Yorker's Scores

  • Movies
  • TV
For 1,327 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Class
Lowest review score: 0 The Da Vinci Code
Score distribution:
1,327 movie reviews
  1. It's a film that you need to see, not a film that you especially want to.
  2. A wonderfully entertaining movie.
  3. Zodiac is superbly made, but it's also a strange piece of work.
  4. Burnett used many kinds of African-American music on the soundtrack, and the movie itself has the bedraggled eloquence of an old blues record. The amateur actors, who occasionally burst into fury, combined with the black-and-white cinematography, bring the poverty of Watts closer to us emotionally.
  5. The whole enterprise goes far beyond pastiche, wreathing its characters in a film-intoxicated world.
  6. On the surface, Apatow's films are about sex--obsessively, exclusively, and exhaustively. (This one lasts more than two hours.) But that is a clever feint, for their true subject is age.
  7. You come out of the movie both excited and soothed, as if your body had been worked on by felt-covered drumsticks.
  8. The movie is exhilarating in a way that only hard-won knowledge of the world can be.
  9. In this movie, Fonda really is iconic. 3:10 to Yuma may be familiar, but, at its best, it has a rapt quality, even an aura of wonder.
  10. Bean, a lovely guy with a touch of Mickey Rooney, is one of the stars of Sington’s rousing show. There was something unearthly, in every sense, about the astronauts in their prime.
  11. 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.
  12. 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.
  13. It’s all fascinating. Gilroy is an entertainer.
  14. Those who worship Joy Division may bridle at Corbijn’s film for its reluctance to mythologize their hero. Speaking as someone so irretrievably square that I not only never listened to the band but didn’t even know anyone who liked it, I can’t imagine a tribute more fitting than this.
  15. Furious and entertaining little morality play.
  16. The pace of the movie is rapid, almost hectic, the touch glancing. Until the confrontation between Frank and Richie at the end, nothing stays on the screen for long, although Scott, working in the street, or in clubs and at parties, packs as much as he can into the corners of shots, and shapes even the most casual scenes decisively.
  17. Langella is superb, and Starting Out in the Evening is a classy film.
  18. Vital, honest, and engaging.
  19. The Spanish director Isabel Coixet works with candor, directness, and simplicity. She isn't afraid of lengthy scenes of the two actors just talking to each other, mixed with lavish but respectful attention to Cruz's body, especially her bare chest, which is treated as one of the wonders of all creation.
  20. You exit the cinema in a fever of melancholia, wondering how long it will take you to shed the sensation of alarm. The film is less of a shocker than an adventure in anxiety, testing and twisting some of the classic studies in infantile curiosity.
  21. Along with “No End in Sight,” this movie is one of the essential documentaries of the ongoing war.
  22. Mungiu’s pacing is so sure, however, in its switching from loose to taut, and the concentration of his leading lady so unwavering, that the movie, which won the Palme d’Or at last year’s Cannes Film Festival, feels more like a thriller than a moody wallow.
  23. The Counterfeiters is a testament to guile. Ruzowitzky scored the picture with tangos, and the tangos are meant to be Sally’s music--seductive, insolent, triumphant.
  24. With the screenwriters Alice Arlen and Victor Levin, Hunt adapted the story from a 1990 novel by Elinor Lipman, and has turned the material into a fine, tense, unpredictable comedy of mixed-up emotions and sudden illuminations.
  25. I prefer to think of Akin, however, not as a forger of patterns but as an ironist who understands that bad luck is a crucible, in the heat of which we are tested, burned away, or occasionally transformed. The Edge of Heaven is about something more exasperating than crossed paths; it is about paths that almost cross but don't, and the tragedy of the near-miss.
  26. Allen can be literal-minded about his thematic polarities, but, in this movie, he has put actors with first-class temperament on the screen, and his writing is both crisp and ambivalent: he works everything out with a stringent thoroughness that still allows room for surprise.
  27. One of the most eloquent records we have of a tragedy that brought out some of the most impressively alive men and women in New Orleans.
  28. Offers considerable insight into the Nixon mystery, without solving it; the movie is fully absorbing and even, when Nixon falls into a drunken, resentful rage, exciting, but I can't escape the feeling that it carries about it an aura of momentousness that isn't warranted by the events.
  29. A genuine love story might be difficult for a young audience to handle, but this fantasy is blissful madness--an abstinence fable sexier than sex.
  30. Claudel turns out to be very good at the psychology of intimacy. An observant man, he has assembled a large (and, to us, unknown) cast of actors around his star, and he dramatizes her slow reawakening with an infinite number of small, sharply etched details.

Top Trailers