The New Yorker's Scores

  • Movies
  • TV
For 1,354 reviews, this publication has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Capote
Lowest review score: 0 Bio-Dome
Score distribution:
1,354 movie reviews
  1. I am casting no aspersions on the director when I say that The Saddest Music in the World is a work of manic depression. The mania is there in the frenzied editing, the inability to concentrate on a detail for more than a few seconds; and the depression is there in the forcible lowering of spirits. [10 May 2004, p. 107]
    • The New Yorker
  2. The memoir is strongly written, and I wish that the movie, directed by John Curran (Marion Nelson did the adaptation), had more excitement to it.
  3. The battle scenes are extraordinarily mucky and violent, but here, as in Tavernier's "Let Joy Reign Supreme," the intricate protocols of aristocratic sexual passion are the most startling elements. The movie, however, is opaque at its center. [25 April, 2011 p. 89]
    • The New Yorker
  4. Zodiac is superbly made, but it's also a strange piece of work.
  5. Never quite shrugs off its literary manners. [18 & 25 Feb 2002, p. 200]
    • The New Yorker
  6. What could have been a narrow, cultish little picture, a mere retro-trip, fans out into a broader study of longing and belonging. [4 Oct 1993, p.214]
    • The New Yorker
  7. As for the title, well, it made me think of Thomas Carlyle's wife, who read Browning's long poem "Sordello," enjoyed it, but still couldn't work out whether Sordello was a man, a city, or a book. So it is with 2046. A place? A date? A hotel room? A bar tab? You tell me.
    • 77 Metascore
    • 50 Critic Score
    It's a beautiful disaster, like a bomb test out in the middle of nowhere. [7 Oct 1991, p.100]
    • The New Yorker
  8. The movie is ungainly – you can almost see the chalk marks it's not hitting. But it has a loose, likable shabbiness. [19 Oct 1987, p.110]
    • The New Yorker
  9. Brilliantly entertaining.
  10. There is honor, boldness, and grip in the new movie, but other directors can deliver those. Werner Herzog is the last great hallucinator in cinema, so why break the spell?
  11. The charm -- the midsummer enchantment -- never feels forced; it steals up and wins you. A true romance.
    • 77 Metascore
    • 80 Critic Score
    The film, despite its raggedness, is stirring. In the end, this failed mission seems like the most impressive achievement of the entire space program: a triumph not of planning but of inspired improvisation.
  12. An exhausting, morbidly fascinating, and finally thrilling experience.
  13. Eminem does not come off as a megalomaniac in 8 Mile, but he expects people to be very, very impressed. I doubt he could lend himself to a fiction that said anything else: his eyes couldn't tell any story but his own. [11 November 2002, p. 195]
    • The New Yorker
  14. An extraordinarily precise and well-made political thriller--the best thing Polanski has done since the seventies, when he brought out the incomparable “Chinatown” and the very fine “Tess.”
  15. It's only at the end of Blue Ruin that my pleasure drained away. [28 April 2014, p.86]
    • The New Yorker
  16. O.K. for children.
  17. Its kitschy grabs at the surreal--the scene in a lunatic asylum, where German troops are billeted, manages to be at once implausible and offensive--that blocks any close engagement with the drama. That said, you must see this film for one unstoppable reason, and that is Lee Marvin.
  18. The film is slowed by its own beauty, but it is salvaged by two majestic scenes.
  19. This is a fully felt, morally alert, marvellously acted piece of work. Despite the grim subject, it's a sweet-tempered movie, with moments of explosive humor-an entertainment.
  20. Here is the territory that "Twilight" never dared to enter. It was so busy with crushes, covens, werewolves, and all the other moth-eaten trappings of the genre that it forgot to ask, Why do vampires not die of boredom? Is time not the sharpest stake in the heart? [14 April 2014, p.86]
    • The New Yorker
  21. The tension of Calvary is fitful at best, and much of the movie trips into silliness, but in Brendan Gleeson -- in his proud bearing and his lamenting gaze -- we see the plight of the lonely believer in a world beyond belief. [4 Aug.2014, p.74]
    • The New Yorker
  22. The movie won't do much for anyone who doesn't have an academic or fanboy absorption in junk.
  23. The result feels, like Shakespeare's play, at once ancient and dangerously new.
  24. Get Low is deftly played, and it rarely mislays its ambling charm, but what a forbidding fable it could have been if the truth about Felix Bush, rather than emerging into sunlight, had slunk back into the woods.
  25. The film's plea for old-fashioned pride and racial tolerance is muffled by a plain, unanticipated fact: Pete Perkins is out of his mind.
  26. A scruffy, thick-grained piece of work, shot in thirty days and scrawled not with luscious coloring but with the tense and inky markings of a society that is fighting to keep its reputation for togetherness, and wondering what that reputation is still worth. [18 & 25 Feb 2002. p. 199]
    • The New Yorker
  27. Seems a touch too long, too airless, and too content with its own contrivances to stir the heart.
  28. Abrupt and fragmentary, but powerful. [Dec 10 2001, p. 111]
    • The New Yorker

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