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 Darwin's Nightmare
Lowest review score: 0 The Da Vinci Code
Score distribution:
1752 movie reviews
  1. The young Welsh-born actor Christian Bale is a serious fellow, but the most interesting thing about him--a glinting sense of superiority--gets erased by the dull earnestness of the screenplay, and the filmmakers haven't developed an adequate villain for him to go up against.
  2. Yet, for all its skill, Public Enemies is not quite a great movie. There’s something missing--a sense of urgency and discovery, a more complicated narrative path, a shrewder, tougher sense of who John Dillinger is.
  3. Huggins is brash and brisk, of course, with Moretti cleaving to an old-fashioned myth of the American interloper. But Turturro is slightly too broad for the occasion, relishing the outbursts of the spoiled star.
  4. In the end, this odd, beautiful movie is remote and more suggestive than satisfying--a coolly impassive film about catastrophe made at a time when some of us might prefer an attempt at explanation. And yet Elephant is something to see. [27 October 2003, p. 112]
    • The New Yorker
  5. A frantic and funny diversion, but it pales and tires before its time is up. It doesn't know the meaning of enough.
  6. Almost nothing engages us emotionally. [8 Oct. 2012, p.86]
    • The New Yorker
  7. This is the fifth movie to be written and directed by David Mamet, and it's his most bizarre one yet; people speak in that dreamy, lockjawed manner we first heard in "House of Games," and their entire lives appear to be lived under the spell of some nameless paranoia.
  8. LaBute's attempt to follow in the footsteps of Restoration comedy is undercut by the fact that his dialogue is only fitfully funny, and you can't help but feel soured by the flat, ritualistic look of the action. The one enlivening performance comes, surprisingly, from Jason Patric.
  9. 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.
  10. Inglourious Basterds is not boring, but it’s ridiculous and appallingly insensitive.
  11. Never Let Me Go is in such good taste that we never feel any horror over the idea at the center of it.
  12. Babel is an infuriatingly well-made disaster.
  13. The movie is a mess, but it’s certainly not dull.
  14. As a director, he seems incapable of trusting his actors to carry the mood, preferring always to lend them a backup -- jokes, fripperies, kooky camera angles -- that they don't require. [5 Nov 2001, p. 105]
    • The New Yorker
  15. Most of the movie lacks zest.
    • The New Yorker
  16. As is proved by documentary footage at the end, Garth Davis’s film is based on a true story; though wrenching, there is barely enough of it to fill the dramatic space, and the second half is a slow and muted affair after the Dickensian punch of the first.
  17. The director looks empathetically at lives of convention and duty that stifle romance and desire, but she reduces the fiery literary lovers to ciphers.
  18. The crud and petty desperation of The Cooler is enjoyable as atmosphere, and the movie is passionate. [12 January 2004, p. 86]
    • The New Yorker
  19. A dully conventional film about a brilliantly unconventional musician.
    • 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.
    • 69 Metascore
    • 50 Critic Score
    The clever dialogue, seductive camera work, and beautiful production design (the lavish dream sequences look like Busby Berkeley on Ecstasy) almost make you forget the vacancy at the movie's core, but in the end there's no escaping the feeling that the Coens are speaking a secret language.
  20. 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.
  21. Has some of the wittiest writing Sayles has ever done for the movies and some of the best acting he's ever coaxed out of his performers, and the picture is a pleasant, if unexciting, experience. [8 July 2002, p.84]
    • The New Yorker
  22. The makers of “Wonder Boys,” Douglas’s finest hour, did more to maintain their distance, and their patience, and Solitary Man feels a touch small and sour by comparison. That said, its litany of character studies is more engaging than most of what you will see this summer.
  23. The movie holds one in its surly grip, but when it's over, few people, I think, are likely to be haunted by it. Futility may work as a mood in a short story, but in a full-scale movie it doesn't bear looking at for very long. (29 Oct 2001, p. 92)
    • The New Yorker
  24. Marlon Brando is airily light and masterly as the veteran anti-apartheid barrister who takes the case even though he knows that he can't get anywhere with the rigged court. He saves the picture for the (short) time onscreen. But the director, Euzhan Palcy, seems lost; her work is heavy-handed, and the script (by Colin Welland and the director, from a novel by Andre Brink) is earnest and didactic.
    • The New Yorker
  25. The movie may be a grim warning against the perils of technology and its ability to spew alternative realities, but Cronenberg himself can hardly claim to have his feet firmly planted on the ground.
  26. Tintin is exhausting, and, for all its wonders, it wears one out well before it's over.
  27. The movie is often absorbing, and skillfully played, but, along with its snarling hero, it doesn’t have much time for ordinary folk. By the end, like Marianne, we are left gasping for air.
  28. Hearts and Minds, which gives no clue that atrocities were committed by the other side, and which allows Davis to cut from a rampaging football game, back home, to the Tet offensive, will be a lesson to anybody who thinks that Michael Moore invented the notion of documentary as blunderbuss.

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