The New Yorker's Scores

  • Movies
  • TV
For 1,752 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 Elle
Lowest review score: 0 Bio-Dome
Score distribution:
1752 movie reviews
  1. Fiennes and his team have mounted a handsome re-creation of Victorian England, but the Dickens-Ternan affair isn't much of a story -- at least, not as realized here. [6 Jan. 2014, p.73]
    • The New Yorker
    • 75 Metascore
    • 60 Critic Score
    The movie is fairly entertaining; it's too bad the guest of honor is such a drag.
  2. Much of the film glides past with a slightly purposeless elegance. Astounding landscapes rise and fall away; enticing women glance and dance and disappear.
  3. The Wolf of Wall Street is a fake. It’s meant to be an exposé of disgusting, immoral, corrupt, obscene behavior, but it’s made in such an exultant style that it becomes an example of disgusting, obscene filmmaking. It’s actually a little monotonous; spectacular, and energetic beyond belief, but monotonous in the way that all burlesques become monotonous after a while.
  4. As the feigning wears off, and Captain America: Civil War crawls to a close, you sense that the possibilities of nature have been not just exceeded but exhausted. Even the dialogue seems like a special effect: “You’re being uncharacteristically non-hyperverbal,” Black Widow remarks to Iron Man. Translation: “Say something.”
  5. Rob Reiner's film, taken from Stephen King's autobiographical novella "The Body," overdoses on sincerity and nostalgia. Seeing it is like watching an extended Christmas special of "The Waltons" and "Little House on the Prairie" - it makes you feel virtuous. All that stays with you is the tale that Gordie, the central character, tells his friends around the campfire.
    • The New Yorker
  6. The other Grant, the irresistible but slippery Cary, was called to account by such strenuous and willful mates as Irene Dunne, Katharine Hepburn, and Ingrid Bergman. But Hugh Grant has never been matched with a woman who directly challenged his oddly recessive charm. [3 June 2002, p. 100]
    • The New Yorker
  7. Owen has made immense progress, to which Life, Animated is a stirring tribute, yet it leaves a trail of questions unanswered or unasked.
  8. Michael Moore has teased and bullied his way to some brilliant highs in his career as a political entertainer, but he scrapes bottom in his new documentary, Sicko.
  9. The Ground Truth is an emotionally potent work, but the great study of an Iraq vet, in either documentary or fictional form, has yet to be made.
    • 74 Metascore
    • 50 Critic Score
    But finally the film is no more than a flamboyant curiosity, replacing the spooky obsessiveness of "La Jetée" with a much tamer kind of weirdness. Also with Brad Pitt, in a showy role as a voluble lunatic; he's dreadful.
  10. Coppola's efforts to bring depth to this material that has no depth make the picture seem groggy. It's as if he were trying to direct the actors to bring something out of themselves when neither he nor anyone else knows what's wanted.
    • The New Yorker
  11. Inception, is an astonishment, an engineering feat, and, finally, a folly.
  12. Yet the movie’s grasp of experience feels tenuous, trippy, and, dare one say, adolescent; if you gave an extremely bright fifteen-year-old a bag of unfamiliar herbs to smoke, and forty million dollars or so to play with, Mother! would be the result.
  13. 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
  14. If he had told the story straight, without such hedging, and at half the length, it would have borne far more conviction.
  15. We're supposed to be overwhelmed by magic, but what we see is fancy film technique and a lot of strained whimsy.
  16. When the picture stops being comic it turns into a different kind of kitsch... The material turns into cheesy plot-centered melodrama... Beetlejuice would have spit in this movie's eye. [17 Dec 1990]
    • The New Yorker
  17. Oldboy has the fatal air of wanting so desperately to be a cult movie that it forgets to present itself as a coherent one.
  18. The Duplasses' sensitivity, which is genuine, yields too much tepid relationship-speak, and Marisa Tomei, one of the most appealing actresses in Hollywood, is left with little to play.
  19. You can't help feeling that what this enterprise required was Louis B. Mayer, or, though one has no wish to be cruel, Harry Cohn. [3 February 2003, p.98]
    • The New Yorker
  20. What binds and clads the new movie most thoroughly, however, is not storytelling but the high pressure of atmosphere.
  21. The unexciting look and feel of the movie wouldn’t have bothered me if the filmmakers had penetrated Hanssen’s skull a little.
    • 73 Metascore
    • 60 Critic Score
    The movie keeps insisting that the gruelling experience it's putting us through is really meant to edify us; it drags us into the mud and then tells us that we haven't got dirty.
  22. There are two drawbacks here. One is a shortage of superior zombies, although where one goes to rent extra zombies I have no idea...Second, we have a serious shortage of fright. [30 June 2003, p. 102]
    • The New Yorker
  23. Sean Penn’s Into the Wild is certainly visual--it’s entirely too visual, to the point of being cheaply lyrical.
  24. It makes “Yellow Submarine” look like a miracle of sober narrative.
  25. Movies are good at this sort of brute physicality, but the trouble with The Impossible is that is also tells a rather banal story. [28 Jan. 2012, p.81]
    • The New Yorker
  26. The movie, with spiderlike timidity, scuttles into a corner and freezes. [13 May 2002, p. 96]
    • The New Yorker
  27. 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.

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