The New Yorker's Scores

  • Movies
  • TV
For 1,594 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 Mystic River
Lowest review score: 0 The Da Vinci Code
Score distribution:
1594 movie reviews
  1. The movie’s heart is certainly in the right place--it’s a quietly outraged work--but I wish there were more excitement in it from moment to moment.
  2. It's nothing we haven't seen done better before (by Paul Greengrass in the recent "Bourne Ultimatum," for instance), but it's good enough as kinetic entertainment.
  3. Yet, even if the movie is a fake as a fight picture, it's still a decent commercial entertainment.
  4. The ideas behind Enduring Love may be fascinating, but they don’t play; they sulk.
  5. The performances are lusty and concerted, but they remain just that - performances, of the sort that may make you feel you should stagger to your feet at the end and applaud. If so, resist.
  6. Boyle is genial, eager, and prolific, and his effusion has ignited films like "Trainspotting" and "Slumdog Millionaire," yet for every blaze that excites us there has been another that burns itself out without leaving a mark, let alone a scar, on our emotions. So it is with Trance. [8 April 2013, p.88]
    • The New Yorker
  7. Running two hours and forty minutes, never finds the same balance: by the time he gets to the lust, it is too late to throw caution to the winds.
  8. In previous movies, Michael Bay dabbled wearily in Homo sapiens. At last he has summoned the courage to admit that he has an exclusive crush on machines, and I congratulate him on creating, in Transformers, his first truly honest work of art.
  9. In the end, Lower City is never quite as energetic as it wants to be, touched by the strange, milky lethargy that steeps every waterfront film.
  10. The new movie continues the "Bourne" tradition of exciting, reality-based thrillers, but when the series lost its star it lost most of is soul. [13 & 20 Aug. 2012, p.96]
    • The New Yorker
  11. At last, a good big film. The legacy of the summer, thus far, has been jetsam: moribund movies that lie there, bloated and beached, gasping to break even. But here is something angry and alive: Elysium.
  12. You can see the jokes coming well in advance, but you still laugh uncontrollably.
  13. What we glean from Belvaux’s trilogy is the reassurance (rare on film, with its terror of inattention) that people are both important and unimportant, and that heroes and leading ladies, in life as in art, can fade into extras before our eyes. [Note: From a review of the entire trilogy.] [2 February 2004, p. 94]
    • The New Yorker
    • 60 Metascore
    • 90 Critic Score
    Barkin and DiCaprio are sensational. Every time De Niro threatens to take over the picture, they snatch our attention right back, and always with something casual: a look or a gesture that conveys how thoroughly this mother and son understand each other.
  14. Apatow’s richest, most complicated movie yet--a summing up of his feelings about comedy and its relation to the rest of existence.
  15. Whether the film cuts it as a fully functioning weepie is another matter. I was in pieces after “Blue Valentine,” and had to be swept up from the floor of the cinema by the guy who retrieves the spilled popcorn, but the The Light Between Oceans left me disappointingly intact.
  16. Anyone who has tamped down that youthful yen for excitement should stay away. But the craving for grownup glamour, however foolish, demands equal satisfaction, and Spectre, in providing it, acquires a throb of mystery that cannot be explained by mere plot.
  17. Another hitch, for Feig, is that, whereas the cheesiness of the effects in the earlier “Ghostbusters” was part of its rackety charm, no current audience will settle for anything less than a welter of wizardry. And so he piles it on, until whole sections of the movie collapse beneath the visual crush.
  18. 9
    And here's the strangest thing of all: it works. [September 14, 2009, pg.ll4]
    • The New Yorker
  19. The filmmakers, I think, got in over their heads and couldn't decide whether they were making an action thriller or a drama of conscience; they wound up flubbing both.
  20. So acclimatized are we to action flicks, and to onscreen conflicts teeming with soldiers, that it’s refreshing to find a film that concentrates on hanging back and reversing out of harm’s way.
  21. Jeremy Renner is the main reason to see Kill the Messenger.
  22. The movie is a lucid and comprehensive picture of a rotten system, but it’s a relief to know that some people in the midst of disaster were doing their jobs.
  23. The drama is stuck with that ethical rigor, and we are left with a near-heretical irony: thanks to this admiring tribute, our hero gets top billing at last, but was he not more beguiling, somehow, as a legendary figure in the shadows?
  24. A thriller stripped of thrills--or, even worse, a thriller that thinks of itself as somehow rising above the vulgar pleasures of excitement.
  25. Allied is written by Steven Knight and directed by Robert Zemeckis, who seems uncertain whether to treat the tale as a wrenching saga of split loyalties or as a glamorous jaunt. Having gathered all the ingredients for derring-do, he forgets to turn up the heat, and the derring never does.
  26. Strange, empty movie, a metaphysical Cracker Jack box without a prize in its empty-calorie depths.
  27. The movie leaves us with the sense that, twelve years after Biggie Smalls's death, a lot of people are trying to extract whatever profit or pride they can from the chaotic life of a young man who was, as he well knew, a work in progress.
  28. Lightning didn't strike three times; the movie is lumbering... I don't think it's going to be a public humiliation, and it's too amorphous to damage our feelings about the first two. [1 Jan 1991]
    • The New Yorker
  29. Not once does this ruffled sweetness seem like Hanson’s natural terrain. "Wonder Boys" took emotional risks, daring to suggest that with age comes not wisdom but confusion and crummy robes, whereas everything in the new film is designed to slot together with an optimistic click.

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