The New Yorker's Scores

  • Movies
  • TV
For 1,795 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 point higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Columbus
Lowest review score: 0 The Da Vinci Code
Score distribution:
1795 movie reviews
  1. If he had told the story straight, without such hedging, and at half the length, it would have borne far more conviction.
  2. The funniest moment comes when Carrey mimes the effects of the Mask without special effects.
  3. As actors of undiminished allure, they deserve the best, and Our Souls at Night left me with an austere fantasy. If only Michael Haneke, say, had got hold of the screenplay; if only he had shorn it of its folksiness, its relaxing guitar score, and its subplot about Addie’s grumpy grandson (Iain Armitage), whom Louis persuades to lay down his iPhone in favor of toy trains and fishing.
  4. It's about guns and sex and fast boats, and, baffling as it is at times, it's still the kind of brutal fantasy that many of us relish a great deal more than yet another aerated digital dream.
  5. Ben Kingsley, who plays the Mahatma, looks the part, has a fine, quiet presence, and conveys Gandhi's shrewdness. Kingsley is impressive; the picture isn't.
    • The New Yorker
  6. Saved! is a minor work, yet it has a teasing lilt to it, and to make it at all took courage and originality. [31 May 2004, p. 88]
  7. The most confidently professional work Soderbergh has ever done, but it's also the least adventuresome and emotionally vital. It vanishes faster than a shot of bourbon. [Dec 10 2001, p. 110]
    • The New Yorker
  8. Owen has made immense progress, to which Life, Animated is a stirring tribute, yet it leaves a trail of questions unanswered or unasked.
  9. Once you admit that the Jane Austen depicted onscreen bears scant relation to any person named Jane Austen, living or dead, the film fulfills its purpose.
  10. This movie, taken all together, is one of the most bizarre combinations of distinguished talent and inane ideas that I've ever seen.
  11. 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.
  12. All this leaves The Zero Theorem looking both disorderly and stuck. And yet, to my surprise, on returning for a second viewing I found myself moved by the film — by the very doggedness with which it both hunts for and despairs of meaning.
  13. As for Paul, you can’t help feeling that, ground down as he was, he didn’t need to get shrunk in the first place. He needed a shrink.
    • 69 Metascore
    • 60 Critic Score
    The utterance of the three gentle chimpanzees in Escape from the Planet of the Apes tends to blow you out of the cinema seat, not so much because they can talk as because they all speak the same language.
  14. I can't help wishing that Chabrol would, just once, cast off his own good narrative manners--do away with the irritations of a film like A Girl Cut in Two, which is never more than semi-plausible, and arrange his passions, as the elderly Buñuel did in "That Obscure Object of Desire," into shameless, surreal anagrams of wit and lust.
    • 47 Metascore
    • 60 Critic Score
    If the original did not exist, would this picture be worth seeing?
  15. It's a very even work, with no thudding bad lines and no low stretches, but it doesn't have the loose, manic highs of some of Allen's other films.
    • The New Yorker
  16. Skip the coda to this movie, with its tiny upswing of hope, and remember the days at the tables, as dim and endless as nights, and the click of the dialogue.
  17. The fight against traditionalism has long been won, so the movie’s indignation feels superfluous, but Mike Newell’s direction is solid, the period décor and costumes are a sombre riot of chintz and pleated skirts, and the movie has an air of measured craft and intelligence. [22 & 29 December 2003, p. 166]
    • The New Yorker
  18. Then, there is Thomas the Tank Engine, who gives the most thoughtful performance in the movie. He is part of a train set in the bedroom of Scott’s young daughter, and, as such, he is perfectly adapted to the dimensions of Ant-Man’s world.
  19. This Bond thriller-the sixth, and set mainly in Switzerland-introduces a new Bond, George Lazenby, who's quite a dull fellow, and the script, by Richard Maibaum, isn't much, either, but the movie is exciting, anyway.
    • The New Yorker
  20. It's all very well to satirize perfect white females, but if you're sick of their attitudes why single them out as protagonists in the first place? What happened to the Asian Nerds? Or the Unfriendly Black Hotties? Or the tired teachers? Why can't we see a movie about them? [10 May 2004, p. 108]
    • The New Yorker
  21. Both of them (Zellweger and McGregor) are set adrift by the movie's discomforting demands, and only in the closing credits (this really is a top-and-tail movie) do they get to do what people do most fruitfully instead of sex, which is to make a song and dance about it. Who needs love? [26 May 2003, p. 102]
    • The New Yorker
  22. For Your Consideration feels weirdly meek and mild, an unmighty wind that quickly blows itself out.
  23. Ben Affleck probably respects Lehane the genre writer (there are five books with Patrick Kenzie as the hero) more than he should. He also has some way to go before he becomes a good director of action.
  24. Marling is the star, and the core of the film's concern. She also co-wrote it with the director, Mike Cahill, yet the result comes across not as a vanity project but as a sobering study of the thoroughly dazed and confused, with a mind-ripping final shot.
  25. The picture might have been a pop classic if it had stayed near the level of impudence that it reaches at its best. But about midway as Eddie has a crisis of confidence, and when Eddie locks his jaw and sets forth to become a purified man of integrity, the joy goes out of Newman's performance, which (despite the efforts of a lot of good actors) is the only life in the movie, except for a brief, startling performance by the 25-year-old black actor Forest Whitaker as a pool shark called Amos.
    • The New Yorker
  26. Oldboy has the fatal air of wanting so desperately to be a cult movie that it forgets to present itself as a coherent one.
  27. Plenty of shrewd commercial calculation went into concocting the right sugar coating for this story of an 11-year-old girl's painful maturation, but chemistry seems right. Laurice Elehwany's script neatly handles a number of details but on larger matters falls into predictable patterns.
    • The New Yorker
  28. At times, the cutting shifts from the hasty to the impatient to the borderline epileptic, and, while never doubting Scorsese’s ardor for the Stones, I got the distinct impression of a style in search of a subject.

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