The New Yorker's Scores

  • Movies
  • TV
For 1,361 reviews, this publication has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% 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: 63
Highest review score: 100 Mystic River
Lowest review score: 0 The Da Vinci Code
Score distribution:
1,361 movie reviews
  1. Singer honors a child's desire not only for adventure but for noble deeds, for loyalty and friendship. [18 March 2013, p.87]
    • The New Yorker
    • 51 Metascore
    • 20 Critic Score
    Schumacher's direction is coarse and slovenly: the picture has the self-conscious jokiness of the "Batman" TV series and the smudged, runny imagery of a cheaply printed comic book.
  2. Much of the dialogue is scissor-sharp--you would expect no less of Marber, who wrote "Closer"--but he is up against blunt and obvious material.
  3. The truth is that almost nobody, and certainly no nation, emerges well from this sour endeavor. [18 & 25 August 2003, p. 150]
    • The New Yorker
  4. Ferocious onslaught of obligatory good cheer.
  5. As a journey through Darwin's discoveries, Creation fails, although, given the intricacy and the patience of his working methods, it is hard to imagine how such a film might succeed.
  6. The movie may have significant truths to impart, although I have my doubts, but it feels too inexperienced, too unworldly, to have earned the right to them.
    • 51 Metascore
    • 50 Critic Score
    Aside from Heche, who is a quick, witty actress, the film seems to reside in a bizarre time warp of bad seventies comedy, complete with retrograde ethnic stereotypes and huge, jiggling breasts.
  7. Overwrought and unpleasant nonsense.
  8. Anyone who soldiered through "The Expendables," two years ago, will be touched, and a little surprised, to learn that there is more to expend. [3 Sept. 2012, p.79]
    • The New Yorker
  9. Even if you closed your eyes -- a tempting option -- you would still know that you were in the hollering presence of pain. The story is undiluted dread. [10 March 2003, p. 94]
    • The New Yorker
  10. In brief, The Brown Bunny, however antagonistic and borderline tedious, is an art work of sorts, and Gallo himself, though an egomaniac of staggering solemnity-a priest of art longing for a cult-is not a fake.
  11. Peter Sarsgaard, with an oozing voice and a wolfish smile, is a terrific creep, and Hank Azaria and Bobby Cannavale have fun overplaying porn-world figures, but the movie, at its center, remains unawakened.
  12. And so, as the solemnity of the enterprise is frittered away, you feel moved to ask: what is this film for?
  13. The Oxford theory is ridiculous, yet the filmmakers go all the way with it, producing endless scenes of indecipherable court intrigue in dark, smoky rooms, and a fashion show of ruffs, farthingales, and halberds. The more far-fetched the idea, it seems, the more strenuous the effort to pass it off as authentic.
  14. More like the Pelican Long-and-Drawn-Out: well over two hours of plots, subplots and super-subdialogue.
  15. You do wonder how this commanding actor (Neeson)--who carries so much more conviction than the plot--felt about delivering the line "I'll tear down the Eiffel Tower if I have to."
  16. After the complex buildup of tensions, the last ten minutes of the movie are a comic-pathetic letdown: the subdued acting and the trash-strewn street scenes lead to nothing more striking than the kind of overexplicit clichés heard in mediocre TV dramas. Even De Niro's discipline and skill can't save lines that should never have been spoken in the first place. [9 September 2002, p.162]
    • The New Yorker
  17. May have been written by a young woman, but it feels like a middle-aged man's fantasies about young people. The dialogue is actually - to retrieve an old word - vulgar. [7 Feb. 2011, p. 82]
    • The New Yorker
  18. Maybe some of the audience should wonder if they aren't performing the Devil's work by sitting so quietly through movies that turn wonders into garbage.
  19. This movie, taken all together, is one of the most bizarre combinations of distinguished talent and inane ideas that I've ever seen.
  20. A trim thriller with an enviable lack of grandeur. [21 Jan. 2013, p.79]
    • The New Yorker
  21. All this leaves The Zero Theorem looking both disorderly and stuck. And yet, to my surprise, on returning for a second viewing I found myself moved by the film — by the very doggedness with which it both hunts for and despairs of meaning.
  22. Bullock shades what she normally does into something more interesting -- the angriest and sexiest work she's done. [6 May 2002, p. 138]
    • The New Yorker
  23. "Gentlemen, I wash my hands of this weirdness," Captain Jack says. Sir, you speak for us all.
  24. Wilson and the director, Steven Shainberg, draw on Arbus's family and on many elements from her life and her art, only to turn the material into feeble nonsense.
  25. The urge to make viewers squirm is fair enough, but when it runs ahead of the urge to entertain -- when the jokes trail in the wake of the embarrassments -- you can't help leaving the theatre sad and soured. [4 Feb 2002, p. 82]
    • The New Yorker
  26. The trouble with Super, as with "Kick-Ass," is that the director wants to have his cake, put a pump-action shotgun up against the frosting, blast vanilla sponge over a wide area, and THEN eat it. [4 April, 2011, p. 83]
    • The New Yorker
  27. An extremely well-crafted exercise in physical invention and fear. Yet within those limits--the limits of a pop-digital survival drama--Poseidon is an exciting show.
  28. It seems that the director, who also made "The Incredible Hulk" and "Clash of the Titans," will do anything to distract us from the emptiness to which he has devoted himself. [10 & 17 June 2013, p.110]
    • The New Yorker

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