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 Capturing the Friedmans
Lowest review score: 0 The Da Vinci Code
Score distribution:
1594 movie reviews
  1. The Book of Eli combines the maximum in hollow piety with remorseless violence. [18 Jan. 2010, p.82]
    • The New Yorker
  2. The plot becomes disastrously condescending: the black man, who's crude, sexy, and a great dancer, liberates the frozen white man. The handsome Omar Sy jumps all over the place, and he's blunt and grating. Francois Cluzet acts with his eyebrows, his nose, his forehead. It's an admirable performance, but the movie is an embarrassment. [28 May 2012, p.78]
    • The New Yorker
  3. The problem is that Snyder, following Moore, is so insanely aroused by the look of vengeance, and by the stylized application of physical power, that the film ends up twice as fascistic as the forces it wishes to lampoon.
  4. The story, devised by David Benioff and Skip Woods, is largely meaningless, and the emotions are no more than functional—they set up the next fight.
  5. Painful to sit through, because you want to see someone like Paul Thomas Anderson take hold of the character and the actress and start again from the beginning. Bob Dolman understands Suzette, but the rest of the movie is composed of ham-handedly obvious scenes. [23 Sept 2002, p. 98]
    • The New Yorker
  6. Though the film is not as criminally poor as "V for Vendetta," which the Wachowskis wrote in 2005, it struck me as more insidious.
  7. The self-confident fatuity and condescension of the movie is offensive.
  8. Maguire has the nerve to give her heroine a big speech on the “integrity” of proper journalism — this after Bridget Jones’s Baby has made fun of foreigners’ names, and arranged for her to put the wrong Asian guest in front of the cameras. (Do all Asians look alike to her? Is that the joke?) So reliably does she embarrass herself at every public event that the film, trudging by on automatic, becomes an embarrassment, too.
  9. In this smutty kiddie farce he's a clownish action toy, and he grows wearying, fast.
  10. But by the end, the charm and delicacy of the 1961 cartoon have long been replaced by laborious gross-outs. Is this now official Disney policy?
    • 46 Metascore
    • 10 Critic Score
    It's a dull, poky picture, which provides an unwelcome showcase for MacLaine's increasingly insufferable cute-gorgon shtick and no showcase at all for Cage's tremendous comic talents.
  11. The funniest thing about The Women is that Mick Jagger is one of the producers.
  12. In the end, Dreamcatcher is an abominable-worm picture. The movie is also an unholy mess, a miserably organized and redundant collection of arbitrary scares and thrills without a unifying visual or poetic idea. [31 March 2003, p. 106]
    • The New Yorker
  13. The Expendables is savage yet inert, and breathtakingly sleazy in its lack of imagination.
    • 22 Metascore
    • 10 Critic Score
    The director, Frank Marshall, who has produced films for Steven Spielberg, gets his own Michael Crichton book to play with—and the results are disastrous.
  14. What Lars von Trier has achieved is avant-gardism for idiots. From beginning to end, Dogville is obtuse and dislikable, a whimsical joke wearing cement shoes. [29 March 2004, p. 103]
    • The New Yorker
  15. Has so many things wrong with it that one can only stare at the screen in disbelief. [25 April, 2011 p. 89]
    • The New Yorker
  16. The movie is exhausting, utterly without feeling, and pointless -- though Smith looks great in his Western outfit.
  17. Madonna's mess of a movie grabs at the rub and rancor of multiculturalism, which it proceeds to squash into a litter of clichés, or, more simply, insults.
  18. So lazy is the characterization, so hamstrung the plot, and so chronically broad the overacting that the main interest lies in deciding which to block first, your eyes or your ears. [2 Sept. 2013, p.81]
    • The New Yorker
  19. The director is Bob Spiers, though it's hard to judge whether he actually turned up on the set.
  20. The general opinion of Revenge of the Sith seems to be that it marks a distinct improvement on the last two episodes, "The Phantom Menace" and "Attack of the Clones." True, but only in the same way that dying from natural causes is preferable to crucifixion.
    • 41 Metascore
    • 10 Critic Score
    A vicious, grindingly manipulative urban mystery that uses a thick atmosphere of S & M kinkiness to distract the audience from the story's thinness and inanity.
  21. I found Tourist hell to sit through. [23 Jan 1989]
    • The New Yorker
  22. The movie is a peculiarly irritating failure -- a leaden piece of uplift.
  23. The Catholic Church has nothing to fear from this film. It is not just tripe. It is self-evident, spirit-lowering tripe that could not conceivably cause a single member of the flock to turn aside from the faith.
    • 1 Metascore
    • 0 Critic Score
    The sheer ineptitude of the movie is supposed to be funny, but there's no lunacy behind it: Shore and his writers are like comedians on Prozac, smiling through the fart jokes without a hint of desperation.

Top Trailers