The New Yorker's Scores

  • Movies
  • TV
For 1,630 reviews, this publication has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Last Station
Lowest review score: 0 The Da Vinci Code
Score distribution:
1630 movie reviews
  1. Reichardt is trying, as she was in her previous film, "Wendy and Lucy," for a mood of existential objectivty. She takes us from the florid grandiosity of Western myth to the bone-wearying stress of mere life. [11 April, 2011 p.89]
    • The New Yorker
  2. Fruitvale Station is a confident, touching, and, finally, shattering directorial début.
  3. The best scary-funny movie since "Jaws" - a teasing, terrifying, lyrical shocker, directed by Brian De Palma, who has the wickedest baroque sensibility at large in American movies. Pale, gravel-voiced Sissy Spacek gives a classic chameleon performance as a repressed high-school senior.
    • The New Yorker
  4. Exciting, handsomely staged, and campy.
    • The New Yorker
  5. Holy Motors is full of larks and jolts, but the movie is so self-referential that it's mainly aroused by itself. The audience, though eager to be pleased, is left unsatisfied. [22 Oct. 2012, p.88]
    • The New Yorker
  6. Watching A Christmas Tale, with its bursts of old movies, dregs of empty bottles, lines from books, and fragments of half-forgotten conversations, is like getting to know a family other than your own by leafing through its scrapbooks and laughing at its photograph albums, while it bickers in the next room over stuff you may never understand.
  7. Bean, a lovely guy with a touch of Mickey Rooney, is one of the stars of Sington’s rousing show. There was something unearthly, in every sense, about the astronauts in their prime.
  8. It's a film that you need to see, not a film that you especially want to.
  9. No weirder than Kaurismäki's previous efforts. Indeed, compared with “Leningrad Cowboys Go America,” this venture tells an alarmingly straight tale. [7 April 2003, p.96]
    • The New Yorker
  10. Anderson's great gift is to catch the generations as they intersect. [4 & 11 June 2012, p 132]
    • The New Yorker
  11. Park has conjured up not only his smartest but also his most stirring film to date. And the least icky.
  12. Milk is a rowdy anthem of triumph, brought to an abrupt halt by Milk's personal tragedies and the unfathomable moral chaos of Dan White.
  13. This Merchant-Ivory production strains so hard to portray dignified restraint that it almost seizes up with good manners.
  14. In short, Haynes is so smart, tolerant, and thoughtful that he has to be saved by his actors. Julianne Moore takes this picture further, perhaps, than anyone can have dreamed. [18 November 2002, p. 104]
    • The New Yorker
  15. What is most winning about Distant is that it can peer past the grief and find a scrap of comedy. [15 March 2004, p. 154]
    • The New Yorker
  16. If Sauper is fired up by anti-globalist conviction, his instincts as an artist and as a man rule out any kind of rhetoric or cheapness. Darwin’s Nightmare is a fully realized poetic vision.
  17. As close as we are likely to come on the screen to the spirit of Greek tragedy (and closer, I think, than Arthur Miller has come on the stage). The crime of child abuse becomes a curse that determines the pattern of events in the next generation. [13 October 2003, p. 112]
    • The New Yorker
  18. In the end, Assayas, shooting the film with relaxed, flowing camera movements, gives his love not to beautiful objects but to the disorderly life out of which art is made.
  19. For all its mayhem, runs like a mad and slightly sad machine, whirring with hints of folly and regret, and the ending, remarkably, makes elegant sense to a degree that eludes most science fictions. How to describe it, without giving anything away? Scrambled, but rare. [1 Oct. 2012, p.84]
    • The New Yorker
  20. Graduation, written and directed by Cristian Mungiu, is a mirthless farce. All that can go wrong does go wrong, and the process is both compelling and close to unwatchable.
  21. The Death of Mr. Lazarescu, for all its terrible matter-of-factness, produces tumultuous feelings of amazement and revolt.
  22. This movie, however incomplete and frustrating, is also fully alive and extraordinarily intelligent.
    • 84 Metascore
    • 90 Critic Score
    The picture turns into a kind of stylized morality play about the right and the wrong ways for Irishmen to respond to distorted portraits of their character, and it's terrifically effective.
  23. Yet the film, against my wishes, left me unmoved.
  24. In short, The Descendants is the latest exhibit in Payne's careful dissection of the beached male, which runs from Matthew Broderick's character in "Election" to Jack Nicholson's in "About Schmidt" and Paul Giamatti's in "Sideways."
  25. Furious and entertaining little morality play.
  26. If you don't mind the gore, you can enjoy Snowpiercer as a brutal and imaginative piece of science-fiction filmmaking. [7 & 14 July 2014, p.94]
    • The New Yorker
  27. The movie is not an argument for chaos; it's an argument for making one's way through life with a relaxed will and an open heart.
  28. Precisely thirty-six times more interesting than “The Girl on the Train.” Where the conceit of that movie feels timid, cooked up, and culturally thin, Anvari’s is nourished by a near-traumatic sense of history, and, in terms of feminist pluck, Rashidi’s presence, in the leading role, is both gutsier and more plausible than the combined efforts of all the main performers in Taylor’s film.
  29. Peele’s perfectly tuned cast and deft camera work unleash his uproarious humor along with his political fury; with his first film, he’s already an American Buñuel

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