The New Yorker's Scores

  • Movies
  • TV
For 1,389 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 Army of Shadows
Lowest review score: 0 Bio-Dome
Score distribution:
1,389 movie reviews
  1. It is equipped, like an F-15 Eagle, to engage multiple targets at once.
  2. She (Cotillard) is the center of attention throughout, yet what matters is her willingness to conspire in the Dardennes’ plea for justice.
  3. Though the facts in No End in Sight are well known, the movie is still a classic.
  4. He [Bahrani] encloses his two characters in a motel room, but he doesn't make them buddies, as a Hollywood movie would. They are characterized in great detail as separate beings.
  5. This is cinema, more rhetorical, spectacular, and stirring than cable-TV drama: again and again, DuVernay’s camera (Bradford Young did the cinematography) tracks behind characters as they march, or gentles toward them as they approach, receiving them with a friendly hand.
  6. The Artist is not just about black-and-white silent pictures. It is a black-and-white silent picture. And it's French.
  7. The story worms further into the guts of Victorian experience than most historical dramas, because it aims at the most neglected aspect of that age, and the most alarmingly modern: its surrealism. [29 Nov 1993, p.148]
    • The New Yorker
  8. Is it a great movie? I don't think so. But it's a triumphant piece of filmmaking -- journalism presented with the brio of drama. [24 Sept 1990]
    • The New Yorker
  9. There aren't many performers who can deliver the fullness of heart that such a plot demands, but Winslet is one of them. [22 March 2004, p. 102]
    • The New Yorker
  10. The project lacks the variety of sensuous pleasures that a great movie has to provide.
  11. Barnard's film, as if nervous of being felled by the straightforward, sinewy thump of Dunbar's writing, ducks and weaves in a series of sly approaches. [2 May 2011, p. 89]
    • The New Yorker
  12. There is plenty to inflame in this picture and nothing to corrupt. [18 Mar 2002. p.152]
    • The New Yorker
  13. Small-scaled and limited, Capote is nevertheless the most intelligent, detailed, and absorbing film ever made about a writer's working method and character--in this case, a mixed quiver of strength, guile, malice, and mendacity.
  14. 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.
  15. The Grand Budapest Hotel is no more than mildly funny. It produces murmuring titters rather than laughter -- the sound of viewers affirming their own acumen in so reliably getting the joke. [10 March 2014, p.78]
    • The New Yorker
  16. The most consuming and most exhausting of its kind since “The Dreamlife of Angels,” fifteen years ago. From the moment when Adèle first catches sight of Emma, on a busy crosswalk, the movie restores your faith in the power of the coup de foudre and yet redoubles your fear of its effect; love, like lightning, can both illuminate and scorch. The problems of two little people, it turns out, do indeed amount to a hill of beans. Some hill. Some beans.
  17. This movie makes one grateful that a serious European art cinema still exists. [15 April 2002, p. 88]
    • The New Yorker
    • 88 Metascore
    • 70 Critic Score
    It's a pretty shameless outlaw fantasy; the feminist justification that the script provides for the heroines' behavior doesn't make their actions any less preposterous.
  18. The movie, Polley's feature début, is a small-scale triumph that could herald a great career.
  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. Many documentaries are good at drawing attention to an outrage and stirring up our feelings. Ferguson's film certainly does this, but his exposition of complex information is also masterly. Indignation is often the most self-deluding of emotions; this movie has the rare gifts of lucid passion
  21. 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
  22. About Elly both clutches us tight and shuts us out, adding wave upon wave of secrets and lies.
  23. The barbs of wit, delivered throughout, are like the retractable daggers used in stage productions of "Macbeth" or "Julius Caesar": they gleam enticingly, they plunge home to the hilt, but they leave no trace of a wound.
  24. Up
    The movie is packed with lovely jokes, some of them funny in inexplicable ways.
  25. 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.
    • 88 Metascore
    • 70 Critic Score
    The picture's real strength is its witty, vigorous evocation of the fifties media world.
  26. 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.
  27. I certainly came out of Nobody Knows feeling numb; only later, reflecting on the fact that the movie was inspired by a true story, did it occur to me that the numbness could have been deliberate, and that what suffused this picture was a mist of anger.
  28. There is something willed and implausible at the heart of L’Enfant, beginning with the child himself--the first non-crying, non-hungry infant in human history, let alone in cinema.

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