The New Yorker's Scores

  • Movies
  • TV
For 1,555 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 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Schindler's List
Lowest review score: 0 Bio-Dome
Score distribution:
1555 movie reviews
  1. When The Company Men stays with its real business -- the calamity of joblessness -- it is first rate. [20 & 27 Dec. 2010, p.145]
    • The New Yorker
  2. It's a pleasure to find a thriller fulfilling its duties with such gusto: the emotions ring solid, the script finds time to relax into backchat, and for once the stunts look like acts of desperation rather than shows of prowess.
  3. Life of Pi, at its best, celebrates the idiosyncratic wonders and dangers of raw, ravaging nature, and Lee wrings more than enough meaning from the excitement of that spectacle; we need nothing higher. [26 Nov.2012, p.86]
    • The New Yorker
  4. An extraordinarily precise and well-made political thriller--the best thing Polanski has done since the seventies, when he brought out the incomparable “Chinatown” and the very fine “Tess.”
  5. It is the first film to be directed by Andrey Zvyagintsev, and what it shares with other coruscating débuts, from “The Four Hundred Blows” to “Badlands,” is a sense that it HAD to be made. There is a controlled wildness at the heart of such movies, whose narratives ask to be handled as delicately as explosives. [15 March 2004, p. 154]
    • The New Yorker
  6. This is a fully felt, morally alert, marvellously acted piece of work. Despite the grim subject, it's a sweet-tempered movie, with moments of explosive humor-an entertainment.
    • 89 Metascore
    • 90 Critic Score
    A handsome and intelligent piece of work: a faithful, well-paced, and carefully crafted dramatization of a very good story.
  7. Gravity is not a film of ideas, like Kubrick's techno-mystical "2001," but it's an overwhelming physical experience -- a challenge to the senses that engages every kind of dread. [7 Oct. 2013, p.88]
    • The New Yorker
  8. This movie will never need reviving. Brown’s innovative rhythms will always make his music sound contemporary.
  9. It's a movie that approaches novelistic richness. [7 Oct. 2013, p. 89]
    • The New Yorker
  10. The story...opens out into a dazzling multigenerational array of characters, as well as a panoply of trenchant themes.
  11. The Best of Youth takes its chance--almost unheard of, these days--to bloom and unfurl like a novel.
  12. The remarkable thing is that Son of Saul is a début: Nemes has never directed a full-length film before. As for Röhrig, he is a poet as well as an actor, born in Budapest and now living in the Bronx. If neither of them made another movie, this one would suffice.
  13. Catch the film on the largest screen you can find, with a sound system to match, even if that means journeying all day. Have a drink beforehand. And, whatever you do, don’t wait for a DVD or a download.
  14. The virtue of Zero Dark Thirty, however, is that it pays close attention to the way life does work; it combines ruthlessness and humanity in a manner that is paradoxical and disconcerting yet satisfying as art.
  15. Birdman, right now, is on the money. In Riggan and the rest of the cast, writhing with the dread of being a nobody but appalled by what it takes to be a somebody, we see not just the acting bug but also the New York bug, the love bug, and, if we’re honest, the life bug, diagnosed as what they are: a seventy-year itch.
  16. Milk is a rowdy anthem of triumph, brought to an abrupt halt by Milk's personal tragedies and the unfathomable moral chaos of Dan White.
    • 74 Metascore
    • 90 Critic Score
    The filmmakers haven't simply tamed the rogue elephant of Clancy's narrative; they've turned it into something that moves as gracefully and as powerfully as a gazelle.
  17. Villeneuve has what I keep looking for in directors: a charged sense of the way the world actually works.
  18. By the time of the closing shot -- twists of fog rising like spectres from a leaden sea -- even the most stubborn viewer will be lying back in a state of happy hypnosis. [16 December 2002, p. 106]
    • The New Yorker
  19. So expert are the performers that you wind up rooting for Burry, Baum, and the others despite yourself, knowing full well that they are fuelled by cynicism -- by an ardent faith that the system will and must fail.
  20. Her
    Sad, kooky, and daunting in equal measure, Her is the right film at the right time.
  21. Though the end of the film seems rushed—its seventy-nine minutes could have gone on for hours—it is nonetheless a cause for rejoicing.
  22. Thanks to Whiplash, Simmons will lend comfort to those actors who believe that, if they wait long enough, the right role — their role — will come along. Fletcher is such a part.
  23. With its blend of terrifyingly intense family bonds and the howling furies of the world outside, this is a great American political film.
  24. What Maisie Knew sees things that most of us manage to hide. James might have been shocked by the movie's profane taunts, but he would have recognized the system of betrayals, large and small, that he dramatized so well. [27 May 2013, p.87]
    • The New Yorker
  25. Rust and Bone might as well be called "Water and Light"; it glitters and flares with the urge to renew those things - limbs, knuckles, lovemaking, and parental bonds - which are easily fractured and lost.
    • 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.
  26. 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

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