The New Yorker's Scores

  • Movies
  • TV
For 1,555 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 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 12 Years a Slave
Lowest review score: 0 Bio-Dome
Score distribution:
1555 movie reviews
  1. It's enjoyably trivial – a piece of charming foolishness. [24 Mar 1986, p.112]
    • The New Yorker
  2. Yet the great thing about White God is that the more you command it to sit and stay — to settle down as a plausible plot, or to cohere as a political fable — the more it slips its leash and runs amok.
  3. An intimate epic.
    • The New Yorker
  4. A film that cannot, in the normal sense of the word, be enjoyed, but it can be endured in a spirit of tempered anticipation -- The movie becomes an anguished demand that the dream be fulfilled. [26 Nov 2001, p. 122]
    • The New Yorker
  5. As the film concludes with his upraised hand, conductor’s fingers unfurling against a blue sky, you do feel that you have witnessed a small victory of wisdom over indifference and ennui. When in doubt, strike up the band.
  6. Coraline is a beautifully designed, rather scary answered-prayer story.
  7. Hammers away at the plot so relentlessly that you can feel the nails entering the back of your skull.
  8. For all its oddities, this movie does carry weight, and, with more than eight per cent of Americans out of work, the timing of its release here could not be more acute.
  9. Unfortunately, it's also maddeningly repetitive, and dependent on the kind of strained English whimsy that leaves your throat sore from laughter that dies in the glottal region.
  10. This is an elegant and stirring entertainment about the hard-drinking, hard-smoking reporters of "See It Now," the show that Murrow and the producer Fred Friendly put together every week.
  11. Too long, but it feels sturdy and stirring – there's an old fashioned decency in the way that it exerts, and increases, its claim upon our feelings. [26 Sept 1994, p.108]
    • The New Yorker
  12. I know that we are meant to be drawn into the undergrowth of these ordinary lives, and the long tale is neatly split into four symbolic seasons;...But do they and their fellow-Brits honestly swell the heart, or do they grate, exasperate, and finally grind us down?
  13. In short, The Last of the Unjust is every bit as quarrelsome as it should be. Murmelstein, recounting the circumstances in which he took mortally serious decisions, dares to ask us if we could have done any better.
  14. The casting of Minority Report may be the smartest in the history of Spielberg. [1 July 2002, p. 96]
    • The New Yorker
  15. Offers considerable insight into the Nixon mystery, without solving it; the movie is fully absorbing and even, when Nixon falls into a drunken, resentful rage, exciting, but I can't escape the feeling that it carries about it an aura of momentousness that isn't warranted by the events.
  16. Strangest of all, we go along with it in a sort of dream, scarcely pausing to complain, so expert is Mungiu at drawing us into the fold of these passionate souls. [8 March 2013, p.80]
    • The New Yorker
  17. A perfect family movie, a perfect date movie, and one of the most eye-ravishing documentaries ever made.
  18. Meirelles's picture is so keen to brandish its social wrath, and its spirits are so rampagingly high, that the bruises it inflicts barely last a night. [20 January 2003, p. 94]
    • The New Yorker
  19. Combines pulse-of-the-city drama and comedy with an elaborate revenge plot, but mostly the movie is about New Yorkers talking.
    • The New Yorker
  20. The director is Debra Granik, who made “Winter’s Bone” (2010), in which Ron had a minor role; the melodramatic strain in that film was less convincing than its observational acuities, which return to the fore here. With no narrator, it is up to the camera to shepherd us through Ron’s days.
  21. Pride is brilliantly entertaining just as it is, so I trust that no one connected with the film will be insulted if I say that, despite the existence of shows with similarly stirring themes, like “Billy Elliot” and “Kinky Boots,” the story would make a terrific musical.
  22. What we have here is a fouled-up fairy tale of oppression and empowerment, and it’s hard not to be ensnared by its mixture of rank maleficence and easy reverie. The gap between being genuinely stirred and having your arm twisted, however, is narrower than we care to admit.
  23. The film turns into a triumph for Don Cheadle, who never steps outside the character for emotional grandstanding or easy moralism.
    • 79 Metascore
    • 50 Critic Score
    The correspondences he wants us to see from up there start to look contrived, illusory. [27 Sept 1993, p.98]
    • The New Yorker
  24. With no narrator to shepherd us along, the movie feels noisy and restless. The period is revived by a wealth of songs on the soundtrack, and by the sleek and succulent Panther look.
  25. It is the most oppressive of the great tragedies, and "Macbeth" aside, the leanest, and the task that Fiennes has set himself is to liberate it from the theatrical while preserving the dramatic bite. In that, he succeeds with brio. [23 Jan. 2012, p.86]
    • The New Yorker
  26. Some of the menacing atmosphere, and even a few scenes, descend from the first two “Godfather” movies. But, in fact, Chandor has done something startling: he has made an anti-“Godfather.”
  27. The glum fact is that Gone Girl lacks clout where it needs it most, at its core.
  28. Central Park is at first discomforting, then enraging, then illuminating.
  29. With audacious leaps of time and intimate echoes spanning a quarter century of intertwined lives, the director Jia Zhangke endows this romantic melodrama with vast geopolitical import.

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