The New Yorker's Scores

  • Movies
  • TV
For 1,718 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 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Rat Film
Lowest review score: 0 The Da Vinci Code
Score distribution:
1718 movie reviews
  1. The movie is amiable enough: the young Australian actress Teresa Palmer is lovely and crisp, and the Canadian writer-director Michael Dowse manages the party traffic well. [14 March 2011, p.79]
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  2. Citing Chekhov at this early time in Swanberg's career may be unfair, but an amiable movie like Drinking Buddies cried out for the revelations that a great dramatist--or even a talented screenwriter and director working together--can give us. [9 Sept. 2013, p.90]
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  3. The movie is about preservation and restoration and the power of art. But with what gain in knowledge? It's as if Szpilman had no soul, and no will, apart from an endless desire to tickle the keys. [13 January 2003, p. 90]
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  4. Almodóvar - whose penchant for narrative complexity grows ever deeper - latches on to the idea of personal history as a puzzle that refuses to be solved.
  5. They give excellent value for money, launching into song the way that normal folk go to the bathroom--regularly, politely, and because, if they didn't, well, darn it, they might just burst.
  6. The movie is successful -- harsh, serious, and both exhilarating and tragic, the right tonal combination for Homer. [17 May 2004, p. 107]
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  7. A superb martial discipline has ended in a commercial movie genre--not the worst fate in the world, but the comic irony of it is of little interest to a director bent on glorification. [9 Sept. 2013, p.90]
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  8. In all, Steve McQueen is a master of fascination rather than of drama--he creates stunning shots rather than an intricate story.
  9. The Good Thief is too spindly and unconfident for an actor of this bulk, yet without him it would curl up and die. [7 April 2003, p.96]
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  10. Hawke is on a roll right now, and Good Kill stirs him to another performance of cogency and zeal. Is it sufficient, however, to support an entire movie?
  11. Cloverfield is a vastly old-fashioned piece of work, creaking with hilarious contrivance. I was thrilled, for instance, to hear someone actually speak the line “It’s alive!”
  12. After a while, you stop counting the chases -- they just get longer and louder, and it's like watching the revival of a forgotten art form; the fact that it's done with a minimum of special effects makes it all the more stirring.
  13. Tears of the Sun may be a flattering myth, but it’s not a bad myth to be flattered by. [17 March 2003, p. 154]
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  14. As broad and obvious as Wanderlust is, it's often very funny. [5 March 2012, p. 87]
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  15. Ryder is devious and witchy, her eyes flashing, her crinkly voice developing knife edges. She gives an acidly brilliant performance as a desperate, lying woman. [24 Jan. 2011, p. 83]
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  16. Without Nancy and her demon lover, Polanski's Oliver Twist feels handsome, steady, and respectful; it has that touch of mummification which wins awards. But Dickens had murder in mind--women killed for their kindness, children for lack of food--and he wanted us to howl and hyperventilate. He asked for more.
  17. Affleck the movie director makes you truly, badly want his bunch of ne'er-do-wells to pull off their heists without a scratch, and you can't ask for much more than that. [20 Sept. 2010, p. 120]
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  18. Viewers will be split between those who wonder about this silly, trumped-up story and those who already know and love the silliness for what it was. [4 November 2002, p. 110]
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  19. Its characters are no different from the rest of us, in the cluster of their annoyances and kicks, yet utterly removed from us by a system that frowns upon ordinary desire. Jafar Panahi's movie, unsurprisingly, has been outlawed in Iran. Nobody likes a prophet. [19 January 2004, p. 93]
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  20. Watching the antic inventions of Go for Zucker, I was moved by the thought that Jews have achieved a kind of Germanness again, and even more moved by the thought that Germans have achieved a kind of Jewishness again.
  21. As the movie shows, the whole furtive business of ratings is indeed ridiculous and should be overhauled.
  22. As the film concludes with his upraised hand, conductor’s fingers unfurling against a blue sky, you do feel that you have witnessed a small victory of wisdom over indifference and ennui. When in doubt, strike up the band.
  23. In all, these men and women don't seem to have the seething ambitions and the restlessness of so many Americans. They don't expect to get rich, somehow, next year. They may be happier than we are but they're also less colorful. [28 Jan. 2012, p.80]
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  24. It takes a female director, I think, to catch children, young and old, at these fragile hours, and also to trace a residue of something childlike in their elders.
  25. A competent director (Peter Yates), working with competent technicians, gives a fairly dense texture to a vacuous script about cops and gangsters and politicians. The stars are Steve McQueen with his low-key charisma, as the police-officer hero, and the witty, steep streets of San Francisco.
    • The New Yorker
  26. It’s a romantic, erotic drama that’s told with an unusual blend of rapture and coldness, of overwhelming yearning and clinical detachment — and, above all, the movie has images that go far beyond the recording of performances and the framing of action in order to make a melancholy and mysterious visual music.
  27. The strength of the movie resides mainly in the work of its cameraman, Chris Menges, who delivers a barrage of images as rousing and changeable as the fortunes of Collins himself.
  28. How can one not revere a movie director who causes the printers of travel brochures to cry out in distress? The Greece of sun, sand, and sea is not open for business here, Angelopoulos having decided that grandeur, grief, and grayness are more his line of work.
  29. The more it sags as a thriller, the more it jabs and jangles as a study of racial abrasion.
  30. Schreiber moves with bearish stolidity, even when boxing, and nothing is more poignantly delayed than Chuck’s realization that most of his wounds were self-inflicted.

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