The New Yorker's Scores

  • Movies
  • TV
For 1,791 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Mystic River
Lowest review score: 0 Bio-Dome
Score distribution:
1791 movie reviews
  1. The bare script seems written by telegram, reducing the characters to pieces on a historical chessboard, and the portentous pace and lugubrious tone of Cooper’s direction take the place of substance.
  2. [Willis’s] heavy trudge on a game leg suggests weariness of historical dimensions; the harmonious mysteries of the urban landscape are themselves the essence of his art. A brilliant sequence of musicians at work gets away from familiar modes of filmed performance and into the depths of inner experience.
  3. It's an expertly made, intentionally minor movie, though when Monroe, doping herself with everything available, lies in bed, confused and hapless, there are depressing intimations of the end to come.
  4. The one, transfixing virtue of Marie Antoinette is its unembarrassed devotion to the superficial. There is no morality at play here, no agony other than boredom, and, until the last half hour, not a shred of political sense. The fun dies out of the film--in fact, the film itself expires--when Coppola suddenly starts dragging in discussions of the American Revolution.
  5. Crystal Skull isn't bad--there are a few dazzling sequences, and a couple of good performances--but the unprecedented blend of comedy and action that made the movies so much more fun than any other adventure series is mostly gone.
  6. The movie has an air of momentousness, yet most of it is conventional, though well-directed, pop mayhem.
  7. At best, I Love You Phillip Morris may be hailed as a necessary step in Hollywood's fearful crawl toward sexual evenhandedness; the film upholds the constitutional right of every gay man to be as much of a liar, a crook, and a creep as the rest of us. Makes you proud.
  8. The result is a sad suburban pastoral, a strain of film you don't see much of, or not enough; it may feel somewhat stretched, and Rush's additions to Carver barely push it past ninety minutes, but anything hectic or hasty would have spoiled the mood. [16 May 2011, p. 132]
    • The New Yorker
  9. This is not life imitating art. This is art going to bed with life and staying there for the rest of the afternoon. [31 March 2014, p.81]
    • The New Yorker
  10. An Altman-influenced movie made without the master's acrid bitterness. The Last Kiss may come out of Italian opera and comedy, but in spirit it's Shakespearean -- objective, impassive, and at peace with a world in which men and women manage to be both ordinary and extraordinary. [5 August 2002, p.80]
    • The New Yorker
  11. The action simply doesn't have the exhilarating, leaping precision that Spielberg gave us in the past... The joyous sureness is missing. [12 June 1989]
    • The New Yorker
  12. Starts smart and ends dumb. [24 Aug 1987, p.79]
    • The New Yorker
  13. The director is John Lee Hancock, who does what he did with “The Blind Side,” where he commandeered a true and jagged tale, tidied up the trauma, and made sure that everyone lived sappily ever after. Sandra Bullock carried the day then, and now Emma Thompson repeats the process.
  14. Beauty and the Beast is delectably done; when it’s over, though, and when the spell is snapped, it melts away, like cotton candy on the tongue.
  15. This film is at once sumptuous with thrills and surplus to requirements. Let sleeping aliens lie.
  16. The ambition is laudable, but Tim Miller’s movie, far from seeming reckless and loose-limbed, comes across as pathologically calculated, measuring out its nastiness to the last drop.
  17. The Matador teeters between comedy and moral inquiry but doesn't quite make it either way. The movie features a startling performance, however, by Pierce Brosnan.
  18. What will divide viewers is the plot; either the ending makes no sense or it forces you to rethink everything that went before.
  19. Eastwood is a more forceful actor than he was twenty years ago--less opaque, less stylized, and altogether more idiosyncratic. He's too old and unsuited by temperament to play the tough city newspaper reporter in this film, but he still has an authority that few younger actors could match.
  20. There is something horribly apt in the way Fincher closes the drama in joyless exhaustion, leaving you certain that there will be a sequel to these events, not onscreen but in someone's home, tonight. [8 April 2002, p. 95]
    • The New Yorker
  21. The movie’s story is conventional in shape, but it has passages of crazy exhilaration and brilliant invention.
  22. Ali
    Michael Mann is a fluent, evocative filmmaker, and the movie is well written, expertly staged, and beautifully edited. [24 & 31 Dec 2001, p. 126]
    • The New Yorker
  23. Scott may always have had an eye on the box office, but from "Alien" and "Thelma & Louise" on, he has made women into heroines. In that regard, he's still ahead of the curve. Rapace's scene is a classic of its kind; it tops John Hurt's notorious misfortunes in "Alien."
  24. Too much of the film feels like one of Balsan’s house parties: undriven, indulgent, quite at ease.
  25. Without Nancy and her demon lover, Polanski's Oliver Twist feels handsome, steady, and respectful; it has that touch of mummification which wins awards. But Dickens had murder in mind--women killed for their kindness, children for lack of food--and he wanted us to howl and hyperventilate. He asked for more.
    • 65 Metascore
    • 70 Critic Score
    What makes the movie memorable is the over-all excellence of the performers.
  26. You think afresh of the film’s title and wonder, Who is more unknown here, the nameless victim or the inscrutable doctor?
  27. When Wright literalizes the fantastic, the movie turns squalid. He does better when he lets his visual fancies roam free. [25 April, 2011 p.88]
    • The New Yorker
  28. Yet as art this revisionist movie, grimly effective as some of it is, doesn't hold a candle to the remarkable cycle of pictures in the late seventies and the eighties which captured the discordant character of a tragic war. [11 Mar 2002, p. 92]
    • The New Yorker
  29. Vignettish and offhand, but it’s extremely pleasant, and it suggests what can be done with lightweight equipment and a loose-limbed approach to the right subject. [19 May 2003, p. 94]
    • The New Yorker

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