The New Yorker's Scores

  • Movies
  • TV
For 1,873 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 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Dog Day Afternoon
Lowest review score: 0 The Da Vinci Code
Score distribution:
1873 movie reviews
  1. I have seen The Host twice and have every intention of watching it again.
  2. In the end, Assayas, shooting the film with relaxed, flowing camera movements, gives his love not to beautiful objects but to the disorderly life out of which art is made.
  3. Reichardt is trying, as she was in her previous film, "Wendy and Lucy," for a mood of existential objectivty. She takes us from the florid grandiosity of Western myth to the bone-wearying stress of mere life. [11 April, 2011 p.89]
    • The New Yorker
  4. Fruitvale Station is a confident, touching, and, finally, shattering directorial début.
  5. The best scary-funny movie since "Jaws" - a teasing, terrifying, lyrical shocker, directed by Brian De Palma, who has the wickedest baroque sensibility at large in American movies. Pale, gravel-voiced Sissy Spacek gives a classic chameleon performance as a repressed high-school senior.
    • The New Yorker
  6. Exciting, handsomely staged, and campy.
    • The New Yorker
  7. The film locates extraordinary political and cultural tributaries, marked by archival footage, that arise from the history of Dawson City and the gold rush.
  8. Watching A Christmas Tale, with its bursts of old movies, dregs of empty bottles, lines from books, and fragments of half-forgotten conversations, is like getting to know a family other than your own by leafing through its scrapbooks and laughing at its photograph albums, while it bickers in the next room over stuff you may never understand.
  9. Bean, a lovely guy with a touch of Mickey Rooney, is one of the stars of Sington’s rousing show. There was something unearthly, in every sense, about the astronauts in their prime.
  10. It's a film that you need to see, not a film that you especially want to.
  11. No weirder than Kaurismäki's previous efforts. Indeed, compared with “Leningrad Cowboys Go America,” this venture tells an alarmingly straight tale. [7 April 2003, p.96]
    • The New Yorker
  12. Anderson's great gift is to catch the generations as they intersect. [4 & 11 June 2012, p 132]
    • The New Yorker
  13. Park has conjured up not only his smartest but also his most stirring film to date. And the least icky.
  14. Milk is a rowdy anthem of triumph, brought to an abrupt halt by Milk's personal tragedies and the unfathomable moral chaos of Dan White.
  15. In short, Haynes is so smart, tolerant, and thoughtful that he has to be saved by his actors. Julianne Moore takes this picture further, perhaps, than anyone can have dreamed. [18 November 2002, p. 104]
    • The New Yorker
  16. What is most winning about Distant is that it can peer past the grief and find a scrap of comedy. [15 March 2004, p. 154]
    • The New Yorker
  17. The movie dramatizes the destruction of a society from within that society. Watching “Hell on Earth” is not an easy experience; I can’t recall another documentary with so many corpses. It’s a grief-struck history of cruelty, haplessness, and irresponsibility—a moral history as well as a history of events.
  18. The movie’s panoramic cityscapes teem with the gritty details of emotional life: romance and chores, hope and despair and loss, bitter resentments and rowdy reckonings with mortality.
  19. If Sauper is fired up by anti-globalist conviction, his instincts as an artist and as a man rule out any kind of rhetoric or cheapness. Darwin’s Nightmare is a fully realized poetic vision.
  20. Some strains of this fearsome film, to be honest, feel overworked and arch. When Joe finds his white-haired mother sitting in front of the TV, for example, does it have to be showing “Psycho”?
  21. As close as we are likely to come on the screen to the spirit of Greek tragedy (and closer, I think, than Arthur Miller has come on the stage). The crime of child abuse becomes a curse that determines the pattern of events in the next generation. [13 October 2003, p. 112]
    • The New Yorker
  22. For all its mayhem, runs like a mad and slightly sad machine, whirring with hints of folly and regret, and the ending, remarkably, makes elegant sense to a degree that eludes most science fictions. How to describe it, without giving anything away? Scrambled, but rare. [1 Oct. 2012, p.84]
    • The New Yorker
  23. Graduation, written and directed by Cristian Mungiu, is a mirthless farce. All that can go wrong does go wrong, and the process is both compelling and close to unwatchable.
  24. Running gags about oddball twists in the restaurant business serve little purpose but don’t detract from the movie’s essential quasi-documentary power.
  25. This movie, however incomplete and frustrating, is also fully alive and extraordinarily intelligent.
    • 84 Metascore
    • 90 Critic Score
    The picture turns into a kind of stylized morality play about the right and the wrong ways for Irishmen to respond to distorted portraits of their character, and it's terrifically effective.
  26. Yet the film, against my wishes, left me unmoved.
  27. The ghost, on the other hand, grows ever more imposing, and the movie’s most touching spectacle — it’s also the funniest — is that of C standing at the window and waving to another ghost, in the adjacent house.
  28. In short, The Descendants is the latest exhibit in Payne's careful dissection of the beached male, which runs from Matthew Broderick's character in "Election" to Jack Nicholson's in "About Schmidt" and Paul Giamatti's in "Sideways."
  29. Furious and entertaining little morality play.

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