The New Yorker's Scores

  • Movies
  • TV
For 1,752 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: 64
Highest review score: 100 Darwin's Nightmare
Lowest review score: 0 The Da Vinci Code
Score distribution:
1752 movie reviews
  1. 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.
  2. 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
  3. For Your Consideration feels weirdly meek and mild, an unmighty wind that quickly blows itself out.
  4. 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
  5. 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.
  6. The movie is sympathetic but simplistic, depicting an exceptional story with little energy or sense of physical presence.
  7. Unconvincing and ineffective; the many patches of ideological montage, growing like kudzu throughout the film, weaken the impact of its best moments.
  8. The trouble with Holofcener's scheme is that the center of the movie is dead. Olivia has no drives or hopes or powerful regrets. She has nothing to say, and Aniston does most of her acting with her lower lip.
  9. There are simply too many characters to get a handle on, and the sheer proliferation of special effects offers Singer a license so unfettered that most of the mutants act not according to their natures but purely on the ground of what, at that juncture, looks most groovy. [12 May 2003, p. 82]
    • The New Yorker
  10. As the teen-age small-town girl looking for excitement who joins up with a carnival that's traveling through, Jodie Foster has a marvelous sexy bravado. The dialogue, from Thomas Baum's screenplay, is often colorful, but the picture is heavy.
    • The New Yorker
  11. The movie, bad as it is, will do as a demonstration of a talented man’s freedom to choose different ways of being himself.
  12. Cool, violent, a cigarette dangling from his mouth, Gosling reprises his inexorable-loner routine from “Drive.” Cianfrance and the screenwriters Ben Coccio and Darius Marder wrote thirty-seven drafts of the script, but gave him almost nothing to say. He rides, he smokes, he knocks over banks, he loves his baby, and that’s it.
  13. Spunky yet maudlin, grim yet heartwarming, the movie—written by Mooney and Kevin Costello—is mainly a batch of hollow gestures.
  14. It is no mean feat to make a boring film about Jesse James, but Andrew Dominik has pulled it off in style.
  15. That the story is true (and based on an expertly written book by Jonathan Harr) doesn't make A Civil Action any more satisfying dramatically -- there's a streak of obviousness in the moral melodrama that dampens one's interest.
  16. The narrative lacks a magnetic north; it encompasses so much, and the needle swings from Jeanne’s predicament to her mother’s dismay and to the support that comes from a celebrated Jewish lawyer, played by the ever-compelling Michel Blanc.
  17. Most important, given that Onkalo will hide and bury just some of Finland's waste, what about everyone else's? [14 & 21 Feb. 2011, p. 139]
    • The New Yorker
  18. The boyfriend, one Aldous Snow (Russell Brand), a Brit rocker and professional sex god, turns out to be the best thing in the movie.
  19. The people in this serious Woody Allen film are destroyed by the repressiveness of good taste, and so is the picture. It's a puzzle movie, constructed like a well-made play from the American past, and given the beautiful, solemn visual clarity of a Bergman film, without, however, the eroticism of Bergman.
    • The New Yorker
  20. No one wants a movie that tiptoes in step with political correctness, yet the willful opposite can be equally noxious, and, as In Bruges barges and blusters its way through dwarf jokes, child-abuse jokes, jokes about fat black women, and moldy old jokes about Americans, it runs the risk of pleasing itself more than its paying viewers.
  21. There has long been a strain of sorry lassitude in Kaufman's work, and here it sickens into the morbid.
  22. I felt sorry for Gyllenhaal, berated in both his personae for being weak, and for Adams, strapped and laced into a role that scarcely lets her breathe.
  23. T2 cannot hope to break the mold, as “Trainspotting” did, but Boyle and his cast rifle eagerly through the shards: a motley of plot scraps, crazed camera angles, flashbacks, trips, sight gags, and musical yelps.
  24. Is the movie fun? Yes, for half the time. An hour would have sufficed. [24 June 2013, p.84]
    • The New Yorker
  25. For all its handsomeness and its occasional moments of piercing intelligence, it's a fundamentally depressing piece of work--not because it deals with tragic events and memories but because the characters seem hapless and even stupid, and the writer-director can't, or won't, take control.
  26. Slamming different kinds of experience together, Lee tries to do with montage what he cannot do with dramatic logic.
  27. Shelton doesn't quite engage with the material; the picture is lame and rhythmless. Still, it's never boring, and it offers a ribald view of Southern politics that contrasts with the stern melodramatic portrait of Earl's older brother Huey as a fascistic demagogue in the 1949 film All the King's Men.
    • The New Yorker
  28. Anyone hoping that 2 Days in Paris will revisit such peppy romance (“Annie Hall”), however, will be frustrated. There is an extra rawness here, a determination to confront and annoy.
  29. How can one defend this prolonged mumble of a motion picture? Well, some of the motion has a hypnotizing grace.
  30. The movie is a divertissement; it's lightweight and almost meaningless except for the fights, which are extraordinarily violent. [30 Jan. 2012, p.79]
    • The New Yorker

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