The New Yorker's Scores

  • Movies
  • TV
For 1,565 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 Black Hawk Down
Lowest review score: 0 The Da Vinci Code
Score distribution:
1565 movie reviews
  1. I enjoyed parts of "Wedding," and I'm not about to tell people that they should not have enjoyed it. I'm just afraid that Hollywood will respond to its success by making many more sitcoms in the guise of movies. [23 Sept 2002, p. 98]
    • The New Yorker
  2. If I were a Turkish official, I would not be too worried by this picture. Nothing so slippery can stir up indignation. [18 November 2002, p. 104]
    • The New Yorker
  3. The moral discussions operate like a bad pair of elevator shoes: it's obvious that their function is to lift black-and-white melodrama into message-movie paradise. The whole film, with its steady, important-picture pacing and its bits of pseudo-profundity, is a piece of glorified banality. [14 Dec 1992, p.123]
    • The New Yorker
  4. Nobody could leave The Life Aquatic without the impression of having nearly drowned in some secret and melancholy game.
  5. As for the overriding reason to see the film, that's easy. Lighten Zahedi's complexion, stuff him in a fright wig, and this fellow would be a ringer for Harpo Marx.
  6. The Interpreter is long and tangled, the score is yet another drownout from the thundering James Newton Howard, and the avowed thoughtfulness--about sub-Saharan politics, about the clashing commitments to peace and justice, about the kinship of damaged souls--is at once laudable and vaporous.
  7. To my eyes, the whole thing past in a blur of fabulous collage. [2 September 2002, p. 152]
    • The New Yorker
  8. Skip Godzilla the movie. Watch the trailer.
  9. Judi Dench is especially good; playing a vulnerable character, for a change, she allows her habitual toughness to give way to uncertainty, fear, and moments of gathering resolve, and she delivers one of her most wide-ranging and moving performances. [7 May 2012, p. 81]
    • The New Yorker
  10. Bright and crisp and funny, the movie turns dish into art--or, if not quite into art, then at least into the kind of dazzling commercial entertainment that Hollywood, in the days of George Cukor or Stanley Donen, used to turn out.
  11. Inside the stony exterior of The American beat some tired old ideas about innocence and redemption. How can you make an intellectual thriller and put a whore with a heart of gold in it?
  12. Stop-Loss is not a great movie, but it’s forceful, effective, and alive, with the raw, mixed-up emotions produced by an endless war.
  13. The movie is a peculiarly irritating failure -- a leaden piece of uplift.
    • 61 Metascore
    • 30 Critic Score
    The picture's attempt to satisfy the aggressive fantasies of a graying white-male audience is weirdly fascinating. It's something you don't see every day: a geriatric comic book.
  14. One of the most impressive movies ever made about espionage.
  15. Kevin Kline does his best movie work yet as Nick Bottom...But in most other ways this "Midsummer Night" is hard to endure.
  16. This, to put it mildly, is new terrain for Macy, and his journey--from Arthur Miller, as it were, to Céline and Dostoyevsky--does not always convince.
  17. Enemy may crawl and infuriate, and, boy, does Villeneuve get rid of the grin. But the film sticks with you, like a dreadful dream or a spider in the bedclothes. Shake it off, and it's still there. [17 March 2014, p.78]
    • The New Yorker
  18. That is an unusually gloomy proposition not just for a studio movie but for a society that, despite the acts and sites of official commemoration, must find good cause to forge ahead from catastrophe. Reign Over Me closes with, at best, a cautious hope, leaving us more anxious than when we went in, and throughout the film there is a stunned and bewildered air hanging over the city, like a heavy smog.
  19. Compare this film with "Mud," and you realize how desperately you cared about the fate of the boys in "Mud," whereas those in Vogt-Roberts's movie are often too listless and too plaintive to earn, let alone heighten, our anxiety. [3 June 2013, p.74]
    • The New Yorker
  20. Adapted from the million-selling novel by Janet Fitch. Not adapted enough, I would say. [14 & 21 October 2002, p. 226]
    • The New Yorker
  21. The good news is that Matchstick Men is saved. Not by the plot, which entails a con so long that you can spot it coming a mile off, but by the presence of Alison Lohman. [22 September 2003, p. 202]
    • The New Yorker
  22. It’s good-natured and raucous, with many scenes that are just sketched but a few that are truly funny.
  23. The deep drawback of Taking Sides is that it forgets to be interested in music. [8 September 2003, p. 100]
    • The New Yorker
  24. Smart, willful, and perverse, this Frida is nobody's servant, and the tiny Hayek plays her with head held high. You may want to laugh now and then, but you won't look away. [11 November 2002, p. 195]
    • The New Yorker
  25. The picture is schmaltzy and phallus-shrivelling, too.
  26. I don't know if Beethoven and a sympathetic newspaper reporter can redeem a messy American city, but this movie makes a plausible case for so fervent a dream.
  27. The script is sketchy and somewhat puzzling (after a blissful night with Mousse, Paul leaves in the morning without explanation), but we're carried along by the potently ambiguous moods, the slow shifts from distant friendship to intimacy.
  28. The director, Gore Verbinski, would seem to be an odd man for this material, but he and Steven Conrad hold their ground, sticking to their conviction that Dave's story should play as a belated-coming-of-age movie.
  29. This is a plum of a part, and McDormand gorges herself. [10 March 2003, p. 94]
    • The New Yorker

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