The New Yorker's Scores

  • Movies
  • TV
For 1,715 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 Kate Plays Christine
Lowest review score: 0 Bio-Dome
Score distribution:
1715 movie reviews
  1. On reflection, and despite these cavils, we should bow to The Master, because it gives us so much to revere, starting with the image that opens the film and recurs right up to the end-the turbid, blue-white wake of a ship. There goes the past, receding and not always redeemable, and here comes the future, waiting to churn us up.
  2. An intimate epic.
    • The New Yorker
  3. A blood-soaked, hellish experience -- a midnight special for lovers of a violent genre -- yet it has been made with a mixture of ferocity and sweetness which leaves one exhausted but at peace. [27 January 2003, p. 94]
  4. The result demands a patient viewing, and maybe more than one; only after a second dose did I get the measure of Garrone's mastery, and realize how far he has surpassed, not merely honored, the author's courageous toil.
  5. It’s Cluzet’s intense performance that makes this genre piece a heart-wrenching experience.
  6. The movie’s visual prose, aided by simple but fanciful camera work, has an original, giddy spin; Bryant and Molzan’s smooth and floaty direction sublimates the rocky landscape into something disturbingly ethereal.
  7. Though the facts in No End in Sight are well known, the movie is still a classic.
  8. What makes Amour so strong and clear is that it allows Haneke to anatomize his own severity.
  9. Wonderful comedy about a tragedy.
    • The New Yorker
  10. An exhausting, morbidly fascinating, and finally thrilling experience.
  11. Juno is a coming-of-age movie made with idiosyncratic charm and not a single false note.
  12. Jones gets everything--the gestures, the generosity, the mean streak, the bending of the ear to recitals of woe, whether across a lunch table or a prison cell. He even nails the voice, like that of a chorister caught running a racket with the incense.
  13. The quiet joke of the film is that you could scarcely meet two less revolutionary souls.
    • 82 Metascore
    • 90 Critic Score
    Schlesinger, working from a script by Malcolm Bradbury, maintains a steady rhythm and a light, cheerful mood that seem to reflect the brisk sanity of the heroine.
  14. He stages the clashes of idiosyncratic characters that give the enterprise its life while observing the infinitesimal details of which that life is made—how to make new friends, how to hook up cable TV—as well as the ethereally intimate connections that result.
  15. Happy Valley is a devastating portrait of a community — and, by extension, a nation — put under a spell, even reduced to grateful infantilism, by the game of football.
  16. An enormously enjoyable hybrid, a romantic comedy set at the center of a caper movie. But the froth arrives with steel bubbles--the tone is amused and mordantly satirical.
  17. Kevin Macdonald has a terrific tale on his hands, and his telling of it, very British in its matter-of-factness, can barely be faulted; yet the facts drop away, and it becomes impossible not to read the movie symbolically--as a journey to the center of the earth, or farther still.
    • The New Yorker
  18. That is the quiet triumph of American Splendor: behind the playfulness, it cleaves to an oddly old-fashioned belief that a life, even a life as mangy as Mr. Pekar’s, gains in depth and darkness when it is crosshatched with the imaginary. The nerd needs no revenge. [18 & 25 August 2003, p. 150]
    • The New Yorker
  19. Mustang is the début feature of Deniz Gamze Ergüven, and it’s quite something: a coming-of-age fable mapped onto a prison break, at once dream-hazed and sharp-edged with suspense.
  20. Quiety sumptuous movie. [15 April 2002, p. 98]
    • The New Yorker
  21. Filmed in a hot and bleached black-and-white, it manages to swerve from culture-clashing farce to alarming suspense without losing control.
  22. Easily the best American movie so far this year.
  23. One of the gentlest, most charming American movies of the past decade. Its subject is less food as something to cook than food as the binding and unifying element of dinner parties, friendship, and marriage.
    • 83 Metascore
    • 90 Critic Score
    Duvall's performance is so passionate, so energized, that it's almost eerie: is Sonny acting him or is he acting Sonny?
  24. One of its major virtues is what’s not there: no creepy flashbacks of prowling priests, or — as in the prelude to Clint Eastwood’s “Mystic River” — of children in the vortex of peril. Everything happens in the here and now, not least the recitation of the there and then.
  25. The movie comes closer to pure happiness than anything else in the theatres at the moment, and it has an intriguing and moving subtext: the Cubans' buried but irrepressible love of things American.
  26. The virtues of Jackson's trilogy, thus far, have been pace and astonishment, which is almost the same thing. [6 January 2003, p. 90]
    • The New Yorker
  27. The film is a casting coup, with Blanchett’s inherent languor —plus that low drawl of hers, a breath away from boredom — played off against the perter intelligence of Mara, whose manner, as always, is caught between the alien and the avian.
  28. This slow and stoic movie, hailed as a gay Western, feels neither gay nor especially Western: it is a study of love under siege.

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