The New Yorker's Scores

  • Movies
  • TV
For 1,795 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 point higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Fruitvale Station
Lowest review score: 0 The Da Vinci Code
Score distribution:
1795 movie reviews
  1. It captures the city's bitter, wire-taut mood after September 11th, and I hope that Disney -- finds some way to bring this acrid and brilliant little picture to the large audience it deserves. [13 January 2003, p. 90]
    • The New Yorker
  2. Fahrenheit 9/11 offers the thrill of a coherent explanation for everything, but parts of the movie are no better than a wild, lunging grab at a supposed master plan. [28 June 2004, p. 108]
    • The New Yorker
  3. 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
  4. The Armstrong Lie goes on forever, perhaps because Gibney can’t believe that, like everyone else, he’s been had. Again and again, he looks for elements of moral clarity (never mind remorse) in Armstrong, and the cyclist looks back at Gibney (and at us) as if he were a fool.
  5. 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.
  6. How can one defend this prolonged mumble of a motion picture? Well, some of the motion has a hypnotizing grace.
  7. Looking back at the film, I don't buy all this, but no matter; Channing is so stormy, so keen to unleash her resentments, that for an hour or so you do believe in Julie. [17 Dec 2001, p.98]
    • The New Yorker
  8. 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
  9. The scenes of the musicians rehearsing or talking about music, with the actors playing parts of Opus 131 themselves (the longer stretches are played by the Brentano Quartet), are fascinating and moving for anyone who loves this music; the rest of the movie is conventional.
  10. The way the story line has been directed it's a clumsier versions of the plots of 50s musicals.
    • The New Yorker
  11. In this handsomely traditional movie, Kevin Costner has tried to fix the Western myth for all time in the stern contours of Duvall’s face and the guttural beauty of his voice. [1 September 2003, p. 130]
    • The New Yorker
  12. The movie goes like the wind, but it's more a technological exercise than anything else.
  13. After a while, you stop counting the chases -- they just get longer and louder, and it's like watching the revival of a forgotten art form; the fact that it's done with a minimum of special effects makes it all the more stirring.
  14. Powerful, concise, fully sustained.
  15. Malik Vitthal’s first feature gives rich dramatic life to a piercingly analytical view of the American way of incarceration.
  16. Clooney and company could have used Sturges - or, even better, Clifford Odets - when it came to rewrites. With all the betrayals and gassy ambitions swirling around here, we badly need dialogue to ignite the film, instead of which even the most aggressive spirits keep firing the dampest of lines.
  17. A Master Builder is a bold endeavor, thriftily made, and there is muscle and volume in the performances; but had Demme hung back, and kept things cooler and quieter, the mastery of what Ibsen built, and the agon of his extraordinary hero, would have cast a more looming shadow. [4 Aug. 2014, p.75]
    • The New Yorker
  18. The required resolution is a long time in coming, but there's plenty to keep you diverted, including the light backchat among the semi-weirdos who make up the brothers' family, and Bullock's ridiculously watchable performance.
  19. The director, James Wan, sends cars repeatedly airborne and seems himself to marvel at the results; the movie’s real subject is the stunt work, but its stars’ authentic chemistry lends melody to its relentless beat.
  20. Midler gives a paroxysm of a performance - it's scabrous yet delicate, and altogether amazing. The movie is hyper and lurid, yet it's also a very strong emotional experience, with an exciting visual and musical flow, and there are sharply written, beautifully played dialogue scenes.
    • The New Yorker
  21. Jasper hits every note of sentimental manipulation in a tale that’s as fleetingly affecting as it is insubstantial and mechanical.
  22. Wonderful comedy about a tragedy.
    • The New Yorker
  23. I was surprised at how not-bad it is. It may fall into the category of youth-exploitation movies, but it isn't assaultive, and it's certainly likable. [1 Nov 1982, p.146]
    • The New Yorker
    • 67 Metascore
    • 40 Critic Score
    It's a shame that the movie whose coattails these wonderful actors are attached to is such an empty suit.
  24. Gunn decides to treat the quest for meaning seriously — a lethal move that not only leads to the noisy palaver of the climax but also undermines Chris Pratt, who likes to hold these movies at arm’s length, as it were, and to probe them for pomposity.
  25. Stewart chose the great Iranian actress Shohreh Aghdashloo to play Bahari’s mother, but, with her tragic face and her magnificent contralto voice, she plays a tiny role as if she were in an amphitheatre.
  26. Given the earnest mayhem that prevails at your local multiplex, there is surely a place for a lightly mocking modernist with a growing distaste for the modern. [9 April 2012, p.84]
    • The New Yorker
  27. The Darjeeling Limited works best when the level of artifice is at its highest and most overt.
  28. Maps to the Stars is at its most potent and beautiful by far when it becomes a ghost story — when the departed, not just Havana’s mother, return to quiz the living.
  29. The futility of a noodling movie star is hardly a revelation of the absurdity of the human condition, or whatever this movie is supposed to be about. [20 & 27 Dec. 2010, p. 146]
    • The New Yorker

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