The New Yorker's Scores

  • Movies
  • TV
For 1,794 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 point higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Maltese Falcon
Lowest review score: 0 The Da Vinci Code
Score distribution:
1794 movie reviews
  1. The problem with any allegorical plan, Christian or otherwise, is not its ideological content but the blockish threat that it poses to the flow of a story.
  2. Cedar plays Norman’s story for tragedy but never develops his inner identity, his history, or his ideals; the protagonist and his drama remain anecdotal and superficial.
  3. Jarmusch's passive style has its wit, but the style is deadening here until he brings in Roberto--a character out of folk humor. And without the boredom of the first three-quarters of an hour Roberto wouldn't be so funny.
    • The New Yorker
  4. The movie's problem begins as you lift up your eyes to the hills. In Chekhov these are craggy and hostile, a fitting backdrop to the dried-out souls who dwell below, but Dover Koshashvili's film lingers on green slopes. They suggest fruition and escape, whereas for Laevsky, the eternally stifled dreamer, there should be no way out.
    • 75 Metascore
    • 40 Critic Score
    The film is essentially a primitive rah-rah story about an underdog's triumph over a bully, and in the times that Americans are living through now the things in it that are merely simple seem simplified to the point of odiousness...In the Heat of the Night seems to be made up of a great deal of attitudinizing and very little instinct. [5 Aug 1967, p.64]
    • The New Yorker
  5. The directors, Andrew Lau and Alan Mak, manage to convince us that we have witnessed an action movie, although in fact the quantity of violence is so minimal that, under Hong Kong law, Infernal Affairs barely qualifies as a motion picture.
  6. It's essentially a skit idea, not a dramatic idea, and the best the movie does with it is to repeat it. What saves Bridesmaids is Feig's love of performers - in particular, his love of actresses.
  7. Fiennes and his team have mounted a handsome re-creation of Victorian England, but the Dickens-Ternan affair isn't much of a story -- at least, not as realized here. [6 Jan. 2014, p.73]
    • The New Yorker
    • 75 Metascore
    • 60 Critic Score
    The movie is fairly entertaining; it's too bad the guest of honor is such a drag.
  8. Much of the film glides past with a slightly purposeless elegance. Astounding landscapes rise and fall away; enticing women glance and dance and disappear.
  9. The Wolf of Wall Street is a fake. It’s meant to be an exposé of disgusting, immoral, corrupt, obscene behavior, but it’s made in such an exultant style that it becomes an example of disgusting, obscene filmmaking. It’s actually a little monotonous; spectacular, and energetic beyond belief, but monotonous in the way that all burlesques become monotonous after a while.
  10. As the feigning wears off, and Captain America: Civil War crawls to a close, you sense that the possibilities of nature have been not just exceeded but exhausted. Even the dialogue seems like a special effect: “You’re being uncharacteristically non-hyperverbal,” Black Widow remarks to Iron Man. Translation: “Say something.”
  11. Rob Reiner's film, taken from Stephen King's autobiographical novella "The Body," overdoses on sincerity and nostalgia. Seeing it is like watching an extended Christmas special of "The Waltons" and "Little House on the Prairie" - it makes you feel virtuous. All that stays with you is the tale that Gordie, the central character, tells his friends around the campfire.
    • The New Yorker
  12. The other Grant, the irresistible but slippery Cary, was called to account by such strenuous and willful mates as Irene Dunne, Katharine Hepburn, and Ingrid Bergman. But Hugh Grant has never been matched with a woman who directly challenged his oddly recessive charm. [3 June 2002, p. 100]
    • The New Yorker
  13. Yet the movie’s grasp of experience feels tenuous, trippy, and, dare one say, adolescent; if you gave an extremely bright fifteen-year-old a bag of unfamiliar herbs to smoke, and forty million dollars or so to play with, Mother! would be the result.
  14. Owen has made immense progress, to which Life, Animated is a stirring tribute, yet it leaves a trail of questions unanswered or unasked.
  15. Michael Moore has teased and bullied his way to some brilliant highs in his career as a political entertainer, but he scrapes bottom in his new documentary, Sicko.
  16. The Ground Truth is an emotionally potent work, but the great study of an Iraq vet, in either documentary or fictional form, has yet to be made.
    • 74 Metascore
    • 50 Critic Score
    But finally the film is no more than a flamboyant curiosity, replacing the spooky obsessiveness of "La Jetée" with a much tamer kind of weirdness. Also with Brad Pitt, in a showy role as a voluble lunatic; he's dreadful.
  17. Coppola's efforts to bring depth to this material that has no depth make the picture seem groggy. It's as if he were trying to direct the actors to bring something out of themselves when neither he nor anyone else knows what's wanted.
    • The New Yorker
  18. Inception, is an astonishment, an engineering feat, and, finally, a folly.
  19. The most confidently professional work Soderbergh has ever done, but it's also the least adventuresome and emotionally vital. It vanishes faster than a shot of bourbon. [Dec 10 2001, p. 110]
    • The New Yorker
  20. If he had told the story straight, without such hedging, and at half the length, it would have borne far more conviction.
  21. We're supposed to be overwhelmed by magic, but what we see is fancy film technique and a lot of strained whimsy.
  22. When the picture stops being comic it turns into a different kind of kitsch... The material turns into cheesy plot-centered melodrama... Beetlejuice would have spit in this movie's eye. [17 Dec 1990]
    • The New Yorker
  23. Oldboy has the fatal air of wanting so desperately to be a cult movie that it forgets to present itself as a coherent one.
  24. The Duplasses' sensitivity, which is genuine, yields too much tepid relationship-speak, and Marisa Tomei, one of the most appealing actresses in Hollywood, is left with little to play.
  25. You can't help feeling that what this enterprise required was Louis B. Mayer, or, though one has no wish to be cruel, Harry Cohn. [3 February 2003, p.98]
    • The New Yorker
  26. What binds and clads the new movie most thoroughly, however, is not storytelling but the high pressure of atmosphere.
  27. The unexciting look and feel of the movie wouldn’t have bothered me if the filmmakers had penetrated Hanssen’s skull a little.

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