The New Yorker's Scores

  • Movies
  • TV
For 1,752 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 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Dawson City: Frozen Time
Lowest review score: 0 Bio-Dome
Score distribution:
1752 movie reviews
  1. A tender, indignant, but also very worldly movie.
  2. Again and again, its stark and suspenseful compositions strike the eye — figures in dark clothing, prone on a pale beach, with lines of wire, black warning flags, and the chill gray waves beyond.
  3. Sophie Scholl: The Final Days may sound like a history lesson, but don't be fooled. It's a horror film.
  4. Vital, honest, and engaging.
  5. The movie was not written for Eastwood, but it still seems to be all about him--his past characters, his myth, his old role as a dispenser of raw justice.
    • 77 Metascore
    • 80 Critic Score
    The film, despite its raggedness, is stirring. In the end, this failed mission seems like the most impressive achievement of the entire space program: a triumph not of planning but of inspired improvisation.
  6. The over-all effect is as taut with tangible evidence as a detective story.
  7. It may be weaker in the resolution than in the setup, but that is an inbuilt hazard of science fiction, and what lingers, days after you leave the cinema, is neither the wizardry nor the climax but the zephyr of emotional intensity that blows through the film.
  8. When he follows his nose -- say, by tracing his own connections to Eric Harris, one of the Columbine shooters -- he implicates himself in what he hates and fears, and he emerges as a wounded patriot searching for a small measure of clarity. [28 October 2002, p. 119]
    • The New Yorker
  9. The movie is exhilarating in a way that only hard-won knowledge of the world can be.
  10. The trouble with experimental comedies is that it's often impossible to figure out how to end them. But at least this one is intricate fun before it blows itself up. [9 December 2002, p. 142]
    • The New Yorker
  11. The film is a hybrid. Its backdrop is despair, but the foreground action has the silvery zest of a comedy.
  12. At its best and quietest, Divine Intervention suggests -- that levity and threat are eternally clasped together, like the lovers' twining hands. [20 January 2003, p. 94]
    • The New Yorker
  13. For the battered American independent cinema, Linklater's movie is the highest form of life seen in the last couple of years. [12 Nov 2001, p. 138]
    • The New Yorker
  14. In all, this is a movie that is partial to youth as a state of being. The grownups seem finished, as frozen in their lifetime roles as creatures out of myth or the Bible. But Oliver and Jordana have the freedom to go anywhere, do anything, become anything. Submarine is an exhilarating surprise.
  15. It feels fresh, almost improvised, mainly because Mills doesn’t drive his scenes toward an obvious resolution.
  16. One might call Neil Young: Heart of Gold soothing, even becalmed, but mellowness and ripeness, when they exist at this high level of craft, should have their season, too.
  17. Layer by layer, this dumbfounding movie devises its magical recipe, and dares us to resist it: ketchup, mustard, two slices of pickle, and hold the irony. Delicious.
    • 83 Metascore
    • 80 Critic Score
    A lovely, stubbornly idiosyncratic fable of aspiration and survival.
  18. As this matron on the loose, Allen is rancorously funny.
  19. Audiard's work is tense, vivid, and alert, and he's got the right actor as Tom, an irresistibly attractive guy who's pushing thirty yet has no more control over his impulses than a chaotic boy.
  20. You exit the cinema in a fever of melancholia, wondering how long it will take you to shed the sensation of alarm. The film is less of a shocker than an adventure in anxiety, testing and twisting some of the classic studies in infantile curiosity.
  21. The hard-won consolations of seasonal sentiment emerge in the searching performances as well as in the impressionistic handheld images.
    • 64 Metascore
    • 80 Critic Score
    Their monumentally stupid and childish observations burst like water balloons over the heads of everyone they encounter; the movie plays like a dumbed-down "Animal House," and its idiocy is irresistible.
  22. The Meyerowitz Stories comes across as Baumbach’s ripest and wisest film to date, alert to the fact that so little in life, especially a screwy or a super-ambitious life, is open to resolution.
  23. Whole passages of non-event stream by, and you half want to scream, and yet--damn it all--by the end of The New World the spell of the images, plus the enigma of Kilcher's expression (she is as sculpted as an idol, and every bit as amenable to worship), somehow breaks you down.
  24. Red Eye, which is exactly eighty-five minutes long, has been made with classical technique and bravura skill, and it's leaving moviegoers in a rare state of satisfaction.
  25. Not one of Scorsese's greatest films; it doesn't use the camera to reveal the psychological and aesthetic dimensions of an entire world, as "Mean Streets," "Taxi Driver," "Raging Bull," and "Goodfellas" did. But it's a viciously merry, violent, high-wattage entertainment, and speech is the most brazenly flamboyant element in it.
  26. With a teeming cast of vibrantly unglamorous Chicago characters who hold Eddie in a tight social web, Swanberg—aided greatly by Johnson’s vigorous performance—makes the gambler’s panic-stricken silence all the more agonizing, balancing the warm veneer of intimate normalcy with the inner chill of secrets and lies.
  27. This is a plum of a part, and McDormand gorges herself. [10 March 2003, p. 94]
    • The New Yorker

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