The New Yorker's Scores

  • Movies
  • TV
For 1,554 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 Only Angels Have Wings
Lowest review score: 0 Bio-Dome
Score distribution:
1554 movie reviews
    • 47 Metascore
    • 60 Critic Score
    But the cut-to-the-enlightenment dramaturgy of Ronald Bass's screenplay feels desperate and false.
  1. 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.
  2. Seven Psychopaths is the kind of movie that can lift someone who's had a crappy day out of a funk. It's an unstable mess filled with lunatic invention and bizarre nonsense, and some of it is so spontaneous that it's elating. [22 Oct. 2012, p.88]
    • The New Yorker
  3. If you fancy a modern "Marty," with the old warmth muffled by unfriendly snow, go right ahead. [20 Sept. 2010, p.121]
    • The New Yorker
  4. Crowe has an animal quickness and sensitivity, a threatening way of penetrating what someone is up to, a feeling for weakness in friends as well as opponents. He seems every inch a great journalist; it's not his fault that the filmmakers let the big story slip through their fingers.
  5. The Fighter, for all the dedication of its players, takes a heavy swing at us, and misses.
    • 66 Metascore
    • 60 Critic Score
    Perhaps too much attention to special effects.
    • 35 Metascore
    • 60 Critic Score
    Levinson is terrific at claustrophobia. In fact, this doesn't resemble any of his previous films so much as it does his gripping TV series, "Homicide."
    • 63 Metascore
    • 60 Critic Score
    The film is gorgeously shot (slow-motion basketballs spin in the air like Kubrick's spaceships), and the majestic Aaron Copland score helps some of the images to soar, but Lee's screenplay, heavy-handed and didactic, gives the actors little room to convey any real emotions.
  6. In Insomnia, the crunch comes as the hero and his opposite number hook up on a ferry, to discuss what each of them knows about the other. This should be Nolan's big moment, his answer to that quiet, magnificent interlude in Michael Mann's "Heat," when Pacino met De Niro in a coffee shop. -- But Williams and Pacino just don't mesh. [27 May 2002, p.124]
    • The New Yorker
  7. The humor of two clerks arguing about ethics and sex deflates before the halfway mark, but the writer-director, Kevin Smith, dishes up some funny profanity in his low-budget black-and-white debut.
  8. The scenery, of course, could stop the heart of a mountain goat, and Wild has an admirable heroine, but the movie itself often feels literal-minded rather than poetic, busy rather than sublime, eager to communicate rather than easily splendid.
  9. Much of Sutcliff's most charged material - the chariot scene, a wolf cub that Marcus rears - is omitted from the movie, and once he and Esca embark on their quest the sense of action grows listless, and our heroes start to seem anxious, wet, and bored. [14 & 21 Feb. 2011, p. 138]
    • The New Yorker
    • 56 Metascore
    • 60 Critic Score
    This is Harlequin Romance land, and the film squeaks by as long as it's content to watch its lovers throwing off sparks.
  10. Why, then, do we not feel bullied by the result? Partly because the camera, as I say, tells a subtler tale than the dialogue does, and lures us into a grudging respect for the bravado of Muse and his men; but mainly because of Tom Hanks. This most likable of actors deliberately presents us with a character who makes no effort to be liked.
  11. Most important, given that Onkalo will hide and bury just some of Finland's waste, what about everyone else's? [14 & 21 Feb. 2011, p. 139]
    • The New Yorker
  12. The joke is that Wiener-Dog is about as non-epic as can be, but there’s also a sleight of hand, with the dazzle of the images distracting us from the fact that the movie has run out of plot. Meanwhile, the depths of doghood remain unplumbed.
  13. The movie's meaning seems to be: we're all crippled in some way, so just live with it--celebrate it, even. That isn't satire; it's moss-brained sentiment that turns "sensitivity" into a dimly dejected view of life.
  14. As nonsense goes, this has a certain gusto and glee, and what dismayed me was that Bekmambetov felt the need to spice it with the addition of coarsely chopped violence.
    • 60 Metascore
    • 60 Critic Score
    The film, which Barrymore produced, is meant to be a charming coming-of-age story, but it plays a little too sweetly for its own good.
  15. The sticking point of the movie is its exorbitant length: two and three-quarter hours does seem like an awful long time to patch up a horse, and a movie that goes straight for your heart should not be allowed to fester.
  16. It treads enjoyably over old ground, and it has a surprisingly foul mouth, though rather than cruising along with the ease of Allen's best work it tends to hobble, and it closes in a flurry of undecided endings.
  17. A movie about mother-son incest may sound like a daring writing-directing début, but David O. Russell, the fledgling auteur, stacks the deck like an old sharpie.
  18. "All good stories deserve embellishment," Gandalf says to Bilbo before they set off, and one has to ask whether the weight of embellishment, on this occasion, makes the journey drag, and why it leaves us more astounded than moved. And yet, on balance, honor has been done to Tolkien, not least in the famous riddle game between Bilbo and Gollum.
  19. The movie won't do much for anyone who doesn't have an academic or fanboy absorption in junk.
  20. In 2002, Carnahan made an intense and violent little cop film, "Narc," with Jason Patric and Ray Liotta. He seemed to have absorbed the influences of John Cassavetes and Martin Scorsese and come up with a style of his own. I was a fan of that movie, but Smokin’ Aces feels like Quentin Tarantino's "Kill Bill" pushed much further along into lethal absurdity.
  21. 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.
  22. Thanks to Lane, Hollywoodland, no great shakes as a thriller, becomes a quiet horror story about the monstrosity of time.
  23. Clooney gives it everything, but what does he get in return? A void where the story is meant to be.
  24. One of the main virtues of John Rabe is to demonstrate that, however much we know about the worst of all wars, it still has little-known corners that can amaze us.

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