The New Yorker's Scores

  • Movies
  • TV
For 1,822 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 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Bloody Sunday
Lowest review score: 0 The Da Vinci Code
Score distribution:
1822 movie reviews
  1. For all the beauty and power of Road to Perdition, there's not much spontaneity in it, and the movie's flawless surface puts a stranglehold on meaning. [15 July 2002. p. 90]
    • The New Yorker
  2. The latest showpiece for computer animation, with all the contoured, suspiciously gleaming perfection that this entails.
  3. The best reason to see The Square is the remarkable Terry Notary, last seen in “War for the Planet of the Apes.” Here he plays a performance artist named Oleg, who brings simian havoc, way beyond his brief, to a glamorous event, roaring and thumping among the tuxedos and the gowns. If only he had done the same at Cannes.
  4. Within the vigorous entertainment of Straight Outta Compton is a sharp-minded realism about the machines within the machines, the amplifiers of money and media that, behind the scenes and offscreen, play crucial roles in the flow of power.
  5. Where the eyes of a Disney princess grow wide as her pumpkin becomes a coach, the folk in Tale of Tales accept that miracles happen, being not an irruption into life but part of its natural flow.
  6. Ousmane Sembène, in his first feature film, from 1966—which is also widely considered the first feature made by an African—distills a vast range of historical crises and frustrated ambitions into an intimate, straightforwardly realistic drama.
  7. Watergate has never really gone away for those of us who lived through it, and, in Penny Lane's Our Nixon, a shrewdly edited collection of news footage and "home movies" taken by members of the Nixon White House staff, there they are again, our familiars. [9 Sept.2013, p.91]
    • The New Yorker
  8. Performs the unlikely trick of being both taut and plotless.
  9. Headhunters is admirably swift in style, and dangerously silly in what it begs us to swallow, but at its heart is a consummate depiction of a permanent type - the proud and prickly male, thrown back on his desperate wits. Small may not be beautiful, but it lives.
  10. When he follows his nose -- say, by tracing his own connections to Eric Harris, one of the Columbine shooters -- he implicates himself in what he hates and fears, and he emerges as a wounded patriot searching for a small measure of clarity. [28 October 2002, p. 119]
    • The New Yorker
  11. The movie feels not only like a trial but like a trial in absentia. [7 Oct 2002, p. 108]
    • The New Yorker
  12. Look closely at immaculate period performance. [15 December 2003, p. 119]
    • The New Yorker
  13. The principal suspense in this fascinating movie is generated by the polite, and then not so polite, ferocity of the arguments between the two men.
  14. It seems not just against the odds but against the laws of nature that a film as bookish, as suburban, and as self-consciously clever as In the House should also be such fun.
  15. The movie was not written for Eastwood, but it still seems to be all about him--his past characters, his myth, his old role as a dispenser of raw justice.
  16. If Ross had merely told his story and re-created the media folk culture of the thirties, the movie might have been a classic. [4 August 2003, p. 84]
    • The New Yorker
  17. It’s among the most visually extravagant films ever made.
    • 72 Metascore
    • 70 Critic Score
    Aronofsky's delirious, Kafkaesque writing and imaginatively distorted camerawork don't quite add up, but it's fascinating, hallucinogenic film work.
    • 72 Metascore
    • 80 Critic Score
    Oddly, the funniest performer here is Gene Hackman, playing an aggressively straight, family-values-spouting politician. Hackman's deadpan inanity is sublimely comic.
  18. A comedy, and a scintillating, uproarious one, filled with fast and light touches of exquisite incongruity in scenes that have the expansiveness of relaxed precision, performed and timed with the spontaneous authority of jazz.
  19. How far the story of Christine Chubbuck ripples outward, registering the cultural stresses of its time (and ours), I’m not sure. As an eyewitness report of a lonely soul on the rack, however, the movie is hard to beat.
  20. I wouldn't trust him (Downey) to look after my handkerchief, but I'll watch him in anything, and that is why Kiss Kiss, Bang Bang--smug as it is, and more like a day in the reptile house than a night at the movies--remains a slithery treat.
  21. The scenes involving Gould and Cannon are small miracles of timing; Cannon (who looks a bit like Lauren Bacall and a bit like Jeanne Moreau, but the wrong bits) is also remarkably funny in her scenes with an analyst (played by the analyst Donald F. Muhich). You can feel something new in the comic spirit of this film - in the way Mazursky gets laughs by the rhythm of cliches, defenses, and little verbal aggressions.
    • The New Yorker
  22. Buoyant and observant, 50/50 is a small winner; the director, Jonathan Levine ("The Wackness"), has a great touch, mordant but light-handed.
  23. After we’ve heard three or four versions of the joke, the words no longer shock. They describe not acts but fantasies, and the movie becomes a celebration of the infinite varieties of comic style.
  24. Who are these men, so eager for asceticism, violence, and martyrdom? At first, we think that’s what we’ll learn from The Oath, a fascinating documentary directed, produced, and shot by Laura Poitras. We don’t really, but what we do find out is of equal interest, and oddly reassuring.
  25. Menzel strings his sequences together with great affection and skill, but the movie, an absurdist picaresque, doesn't have much cumulative impact, and perhaps the hero is too much a lightweight to hold an epic together.
  26. Crowe astounds with his technical skill. [7 Jan 2002, p. 82]
    • The New Yorker
  27. The director is John Maclean, making his début, and, if he demonstrates how hard it is to handle whimsy, he more than atones for it with two tremendous set pieces — one in a store, and the other in an isolated homestead, girded with cornfields where a shooter can nestle and hide.
  28. As “Eight Days a Week” springs from color to black-and-white, and as frenzied action is intercut with stills, we get a delicious sense of doubleness. The Beatles now belong to an honored past, stuck there like an obelisk, and yet here they are, alive—busting out all over, time and time again. Yeah, yeah, yeah.

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