The New Yorker's Scores

  • Movies
  • TV
For 1,439 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 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Good Shepherd
Lowest review score: 0 The Da Vinci Code
Score distribution:
1,439 movie reviews
  1. Bean's touch is unsteady, and Noise is certainly odd, but the movie is alive with the creative madness of New York.
  2. Luhrmann's vulgarity is designed to win over the young audience, and it suggests that he's less a filmmaker than a music-video director with endless resources and a stunning absence of taste. [13 May 2013, p.78]
    • The New Yorker
  3. The movie was written and directed by Brian Helgeland, whose screenplay for “L.A. Confidential” (1997) won an Oscar — deservedly so, for the skein of plot required a steady hand. Legend, by contrast, pummels us into believing that it has a plot, where none exists.
  4. It’s party time, and the movie is wild and crude without being mean--it’s a comedy of infantile regression, “Animal House” for grownups. [17 March 2003, p. 154]
    • The New Yorker
    • 54 Metascore
    • 50 Critic Score
    Angels, according to this movie's nonexistent logic, travel at the speed of thought and are invisible except to other angels, children, and the dying.
  5. Clooney gives it everything, but what does he get in return? A void where the story is meant to be.
  6. It's an accomplished, stately movie -- unimpassioned but pleasing. [28 July 2014, p.78]
    • The New Yorker
  7. Structurally a mess and unevenly made, but the first forty minutes or so are quite beautiful. [7 July 2003, p. 84]
    • The New Yorker
    • 54 Metascore
    • 90 Critic Score
    Screenwriters Brian Koppelman and David Levien have given some crackerjack card-shark dialogue to two hot young actors—Matt Damon and Edward Norton—and together with John Dahl's atmospheric direction they've all made a dream of a poker movie.
  8. To Rome with Love is light and fast, with some of the sharpest dialogue and acting that he's put on the screen in years. [2 July 2012, p.84]
    • The New Yorker
  9. The disgraceful script is by Duncan Kennedy, Donna Powers, and Wayne Powers. Directed with occasional flashes of nasty wit by Renny Harlin.
  10. The result may be the oddest film of the season. It boasts an array of sublime backdrops and a yearning score, but the climate of feeling is anxious and inward, encapsulated in Stiller’s darting gaze, and the movie itself keeps glancing backward, at the lost and the obsolete.
  11. An obscene, ridiculous, and occasionally very funny movie, and if it ever gets to the Middle East it will roil the falafel tables on both sides of the Arab-Israeli divide.
  12. If only Kim had a sense of humor to match his visual wit. Instead, we get rusted gags and rubbery acting.
  13. Thanks for Sharing is worth it, because of Pink. [30 Sept. 2013, p.85]
    • The New Yorker
  14. Lucas shifts back and forth between this kind of original invention and a dependence on pompous dead-level dreck, a grade-B cheapness that he's obviously addicted to. [20 May 2002, p. 114]
    • The New Yorker
  15. Sparks like that are scattered through, and yet the sad fact is that Jersey Boys is a mess. Parts of it feel half-finished.
  16. Somehow the movie that Rob Marshall has made from Golden's novel is a snooze. How did he and the screenwriter, Robin Swicord, let their subject get away from them?
  17. It's emotionally more alive than anything Allen has done since "Sweet and Lowdown," in 1999. I was absorbed in it, and I liked parts of it. And I wish to God it were better.
    • 54 Metascore
    • 40 Critic Score
    The stars lack any sort of chemistry, which is too bad, since the script, by the always unreliable Ron Bass (with William Broyles), is intended as a romantic cat-and-mouse fantasy.
  18. A slight and rueful affair, intermittently funny.
  19. Forget satire; this guy doesn't want to scorch the earth anymore. He just wants to swing his dick.
  20. The best reason to stay with it is Vaughn, whose lanky wryness wards off the threat of pomposity. The worst reason is Jada Pinkett Smith, who gets stuck with a thankless role as the unwittingly lethal villain -- a newspaper journalist, of course.
  21. Estevez has made a vague gesture at a large, metaphoric structure without having the dramatic means to achieve it. His choreography of the panic and misery in the hotel after the shooting is impressive, and some of the actors do fine in their brief roles. But his script never rises above earnest banality, and we are constantly being taught little lessons in tolerance and humanity:
  22. This bio-pic, written by Abi Morgan and directed by Phyllida Lloyd, is an oddly unsettled compound of glorification and malice. It whirts around restlessly and winds up nowhere. [2 Jan. 2012, p.78]
    • The New Yorker
  23. Yet Oblivion is worth the trip. There are two reasons for this. The first is the cinematography of Claudio Miranda.
  24. This literal-minded movie sells old pieties and washes away fear so thoroughly that it creates a new kind of fantasy, in which all's right with a very troubled world. [21 April 2014, p.110]
    • The New Yorker
    • 54 Metascore
    • 40 Critic Score
    The pointlessness would be vastly more appealing if Wang and Auster didn't make such a point of it.
  25. The plot would seem more ingenious if the movie itself didn't copy so many other thrillers (notably "The Silence of the Lambs"), and if it weren't so easy to spot every twist half an hour in advance.
  26. Throughout Sinister, the rooms remain darker than crypts, whether at breakfast or dinnertime, and the sound design causes everything in the house to moan and groan in consort with the hero's worrisome quest. I still can't decide what creaks the most: the floors, the doors, the walls, the dialogue, the acting, or the fatal boughs outside.

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