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 Invasion of the Body Snatchers
Lowest review score: 0 The Da Vinci Code
Score distribution:
1752 movie reviews
  1. Although The Big Sick breaks new ground as it delves into cultural conflicts, there are patches of the drama that give you pause.
  2. Finally, a voice-over from Jimmy Carter, lauding the efforts of those involved. All this is, frankly, uncool - a pity, because the rest of Argo feels clever, taut, and restrained.
  3. Huston's power as Lilly is astounding... She bites right through the film-noir pulp; the [climactic] scene is paralyzing, and it won't go away.
    • The New Yorker
  4. Almodóvar has brought an extraordinary calm to the surface of his work. The imagery is smooth and beautiful, the colors are soft-hued and blended. Past and present flow together; everything seems touched with a subdued and melancholy magic. [25 November 2002, p. 108]
    • The New Yorker
  5. 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.
  6. The Death of Mr. Lazarescu, for all its terrible matter-of-factness, produces tumultuous feelings of amazement and revolt.
    • 86 Metascore
    • 100 Critic Score
    With breathtaking assurance, the movie veers from psychological-thriller suspense to goofball comedy to icy satire: it's Patricia Highsmith meets Monty Python meets Nathaniel West. [20 Apr 1992, p.81]
    • The New Yorker
  7. The good news is that, although Baby Driver is not much of a movie, it is an excellent music video — a club sandwich for the senses, lavishly layered with more than thirty songs.
  8. Ford is more than a witness—he is a crucial participant in the events of the film, and its elements of pain and guilt are reflected in his grief-stricken, self-interrogating aesthetic.
  9. Hawks weaves brawny romance and humor and a man’s-man sort of heartbreak into his tribute to the ideal of vocation.
  10. It's hard not to see Beasts as an expression of post-affluent America. And here's the surprise: the grinding Great Recession may never offer up a movie as happy, or as inspired by poetry and dream, as this one. [23 July 2012, p.80]
    • The New Yorker
  11. The film is filled to dazzling with the vitreous and the translucent; the flaw running down the window of a Polish train seems, in some mystifying way, as momentous as a rift in space-time. We see through a glass darkly, and often confusingly, but at least we see.
  12. John Cusack and Mahoney have to carry the unconvincing melodramatic portion of the plot, but they carry it stunningly. [15 May 1989]
    • The New Yorker
  13. You come out of the movie both excited and soothed, as if your body had been worked on by felt-covered drumsticks.
  14. What follows, in the final half hour of the movie, is an astounding chamber piece, worthy of Strindberg, with the husband, the wife, and her aggressor stuck in a dance of doubt and death. With every shot, our sympathies flicker and tilt.
  15. 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]
    • The New Yorker
  16. On paper this movie, written and directed by Brian De Palma, might seem to be just a political thriller, but it has a rap intensity that makes it unlike any other political thriller...It’s a great movie.
  17. I prefer to think of Akin, however, not as a forger of patterns but as an ironist who understands that bad luck is a crucible, in the heat of which we are tested, burned away, or occasionally transformed. The Edge of Heaven is about something more exasperating than crossed paths; it is about paths that almost cross but don't, and the tragedy of the near-miss.
  18. Vital, honest, and engaging.
  19. Filming with long, ironically balanced takes, Porumboiu delivers an ingeniously intricate goofball comedy that evokes heroes of legend while bringing sociological abstractions to mucky life.
  20. Baker revels in the power of clichés and the generic energy of his low-fi cinematography, which is done with a cell phone. The results are picturesque and anecdotal.
  21. On the surface, Apatow's films are about sex--obsessively, exclusively, and exhaustively. (This one lasts more than two hours.) But that is a clever feint, for their true subject is age.
  22. Turtles Can Fly has little space for mawkishness, and the kids are far too cussed to be cute. It is, in every sense, the more immediate achievement: it hits and hurts the eyes (the rainy days are lousy enough, but the skies of royal blue, above such grief, feel especially insulting), and it also seems to bleed straight out of the headlines.
  23. Not one of Scorsese's greatest films; it doesn't use the camera to reveal the psychological and aesthetic dimensions of an entire world, as "Mean Streets," "Taxi Driver," "Raging Bull," and "Goodfellas" did. But it's a viciously merry, violent, high-wattage entertainment, and speech is the most brazenly flamboyant element in it.
  24. An Education is perceptive and entertaining, but it doesn’t have the jolting vitality of, say, “Notes on a Scandal,” which dramatized an even more unconventional liaison--older woman, fifteen-year-old boy.
  25. Bellocchio gets the opera-buffa and the carnival side of Italian Fascism, and parts of the movie are excruciatingly funny.
  26. In brief, Marshall Curry, the young director of Street Fight, has hit the documentary jackpot: the movie will become the inescapable referent for media coverage of the new campaign. And rightly so.
  27. Under its leathery hide is a genuine compulsion to de-romanticize Western gunfighting. Every bullet in this movie matters, and by the end Munny's alcohol-fuelled, satanic purposefulness is shocking: in the climax, even his choice of victims has a crazy excess. [10 Aug 1992, p.70]
    • The New Yorker
  28. Judged both as reporting and as art -- many of Wiseman's films have a poetic density of structure -- it is a series without parallel in movie history. [11 Feb 2002, p. 92]
    • The New Yorker
  29. The pathos of About Schmidt -- of the careful, Chekhovian work that it could have been --gradually slides away. [16 December 2002, p. 106]
    • The New Yorker

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