The New Yorker's Scores

  • Movies
  • TV
For 1,718 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 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Rat Film
Lowest review score: 0 The Da Vinci Code
Score distribution:
1718 movie reviews
  1. Almost nothing engages us emotionally. [8 Oct. 2012, p.86]
    • The New Yorker
  2. This is the fifth movie to be written and directed by David Mamet, and it's his most bizarre one yet; people speak in that dreamy, lockjawed manner we first heard in "House of Games," and their entire lives appear to be lived under the spell of some nameless paranoia.
  3. LaBute's attempt to follow in the footsteps of Restoration comedy is undercut by the fact that his dialogue is only fitfully funny, and you can't help but feel soured by the flat, ritualistic look of the action. The one enlivening performance comes, surprisingly, from Jason Patric.
  4. The humor of two clerks arguing about ethics and sex deflates before the halfway mark, but the writer-director, Kevin Smith, dishes up some funny profanity in his low-budget black-and-white debut.
  5. Inglourious Basterds is not boring, but it’s ridiculous and appallingly insensitive.
  6. Never Let Me Go is in such good taste that we never feel any horror over the idea at the center of it.
  7. Babel is an infuriatingly well-made disaster.
  8. The movie is a mess, but it’s certainly not dull.
  9. As a director, he seems incapable of trusting his actors to carry the mood, preferring always to lend them a backup -- jokes, fripperies, kooky camera angles -- that they don't require. [5 Nov 2001, p. 105]
    • The New Yorker
  10. Most of the movie lacks zest.
    • The New Yorker
  11. As is proved by documentary footage at the end, Garth Davis’s film is based on a true story; though wrenching, there is barely enough of it to fill the dramatic space, and the second half is a slow and muted affair after the Dickensian punch of the first.
  12. The director looks empathetically at lives of convention and duty that stifle romance and desire, but she reduces the fiery literary lovers to ciphers.
  13. The crud and petty desperation of The Cooler is enjoyable as atmosphere, and the movie is passionate. [12 January 2004, p. 86]
    • The New Yorker
  14. A dully conventional film about a brilliantly unconventional musician.
    • 69 Metascore
    • 60 Critic Score
    The utterance of the three gentle chimpanzees in Escape from the Planet of the Apes tends to blow you out of the cinema seat, not so much because they can talk as because they all speak the same language.
    • 69 Metascore
    • 50 Critic Score
    The clever dialogue, seductive camera work, and beautiful production design (the lavish dream sequences look like Busby Berkeley on Ecstasy) almost make you forget the vacancy at the movie's core, but in the end there's no escaping the feeling that the Coens are speaking a secret language.
  15. Has some of the wittiest writing Sayles has ever done for the movies and some of the best acting he's ever coaxed out of his performers, and the picture is a pleasant, if unexciting, experience. [8 July 2002, p.84]
    • The New Yorker
  16. The makers of “Wonder Boys,” Douglas’s finest hour, did more to maintain their distance, and their patience, and Solitary Man feels a touch small and sour by comparison. That said, its litany of character studies is more engaging than most of what you will see this summer.
  17. The movie holds one in its surly grip, but when it's over, few people, I think, are likely to be haunted by it. Futility may work as a mood in a short story, but in a full-scale movie it doesn't bear looking at for very long. (29 Oct 2001, p. 92)
    • The New Yorker
  18. Marlon Brando is airily light and masterly as the veteran anti-apartheid barrister who takes the case even though he knows that he can't get anywhere with the rigged court. He saves the picture for the (short) time onscreen. But the director, Euzhan Palcy, seems lost; her work is heavy-handed, and the script (by Colin Welland and the director, from a novel by Andre Brink) is earnest and didactic.
    • The New Yorker
  19. The movie may be a grim warning against the perils of technology and its ability to spew alternative realities, but Cronenberg himself can hardly claim to have his feet firmly planted on the ground.
  20. Tintin is exhausting, and, for all its wonders, it wears one out well before it's over.
  21. The movie is often absorbing, and skillfully played, but, along with its snarling hero, it doesn’t have much time for ordinary folk. By the end, like Marianne, we are left gasping for air.
  22. Hearts and Minds, which gives no clue that atrocities were committed by the other side, and which allows Davis to cut from a rampaging football game, back home, to the Tet offensive, will be a lesson to anybody who thinks that Michael Moore invented the notion of documentary as blunderbuss.
  23. By the end of The Hateful Eight, its status as a tale of mystery and its deference to classic Westerns have all but disappeared, worn down by the grind of its sadistic vision. That is the Tarantino deal: by blowing out folks’ brains, he wants to blow our minds.
  24. There's a total absence of personal obsession - even moviemaking obsession - in the way Crichton works; he never excites us emotionally or imaginatively, but the film has a satisfying, tame luxuriousness, like a super episode of "Masterpiece Theater."
    • The New Yorker
  25. For Your Consideration feels weirdly meek and mild, an unmighty wind that quickly blows itself out.
  26. Damon may be too young, too unformed, to play an amnesiac. Gazing at that blank face, we can't imagine that Bourne has any experiences or memories to forget. [17 & 24 June 2002, p. 176]
    • The New Yorker
  27. So rich is that visual yield, however, that it needs no verbal boost. Yet, from the moment that Margot says to Daniel, while sitting next to him on a plane, "I'm afraid of connections," the dialogue strains and grunts so hard for effect that it threatens to pull a muscle.
  28. Unconvincing and ineffective; the many patches of ideological montage, growing like kudzu throughout the film, weaken the impact of its best moments.

Top Trailers