The New Yorker's Scores

  • Movies
  • TV
For 1,327 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Class
Lowest review score: 0 Bio-Dome
Score distribution:
1,327 movie reviews
    • 47 Metascore
    • 60 Critic Score
    The film is paced like a breezy sixties romp and there are some good gags, but the plot's a bit creaky and lacks the clever zing of a good scam.
  1. At its best, the picture is violently exciting; at its worst, banal and monotonous. Yet the relative absence of mighty significances did not prevent the Matricians sitting all around me--mostly men aged about thirty--from remaining utterly still, as if at a High Mass, throughout the movie. [10 November 2003, p. 128]
    • The New Yorker
  2. It winces with liberal self-chastisement: Redford is surely smart enough to realize, as the professor turns his ire on those who merely chatter while Rome burns, that his movie is itself no better, or more morally effective, than high-concept Hollywood fiddling.
  3. In the movie's best moments, the misery has a comic lilt to it. [28 Jan 2002, p. 90]
    • The New Yorker
  4. Even by the standards of disaster movies, The Day After Tomorrow is irretrievably poor: a shambles of dud writing and dramatic inconsequence which left me determined to double my consumption of fossil fuels. [7 June 2004, p. 102]
    • The New Yorker
  5. A classic case of Hollywood hypocrisy and ineptitude.
    • 47 Metascore
    • 60 Critic Score
    If the original did not exist, would this picture be worth seeing?
  6. The clichéd macho silliness of the picture gets to be infuriating after a while.
  7. The plot of Silver City is movieish in the extreme, with filthy abandoned mines subbing for the bars and alleys of urban noir, but it’s no more than mild cheese--“The Big Sleep” or “Chinatown” without the malice, rigorous design, and narrative epiphanies.
  8. Why, as a patron of Rock of Ages, do I wish I had taken the precaution of entering the theater drunk? [25 June 2012, p.84]
    • The New Yorker
  9. It's a shame, then, that the later stages of Lakeview Terrace should overheat and spill into silliness. The plot is compromised, not resolved, by the pulling of a gun.
  10. A very strange, often terrible affair that is nevertheless mesmerizing, in a limited way.
    • 47 Metascore
    • 60 Critic Score
    But the cut-to-the-enlightenment dramaturgy of Ronald Bass's screenplay feels desperate and false.
  11. Ryder is devious and witchy, her eyes flashing, her crinkly voice developing knife edges. She gives an acidly brilliant performance as a desperate, lying woman. [24 Jan. 2011, p. 83]
    • The New Yorker
    • 46 Metascore
    • 50 Critic Score
    The supporting cast of yokels commit plenty of redneck faux pas, but the witty script is weighed down by the director David Dobkin's heavy hand.
  12. In the Cut is completely controlled and all of a piece, and yet, apart from one performance (Mark Ruffalo), it's terrible--a thriller devoid of incidental pleasures or humor, or even commonplace reality. [27 October 2003, p. 112]
    • The New Yorker
  13. The material has been turned into a trivially narcissistic product for teen-age girls who want to feel indignant about wrongs they are unlikely to suffer.
    • 46 Metascore
    • 10 Critic Score
    It's a dull, poky picture, which provides an unwelcome showcase for MacLaine's increasingly insufferable cute-gorgon shtick and no showcase at all for Cage's tremendous comic talents.
  14. All movie adaptations of Nabokov fall short, by definition, but this one is the most graceful failure so far.
  15. Much of what Oskar says in the book is amusingly beside the point. Onscreen, however, the sound of a hyper-articulate boy talking semi-nonsense becomes very hard to take.
  16. In truth, von Trier is not so much a filmmaker as a misanthropic mesmerist, who uses movies to bend the viewer to his humorless will.
    • 46 Metascore
    • 40 Critic Score
    Griffin Dunne's plodding adaptation of Alice Hoffman's novel can't decide whether it's a horror show, a cute comedy, or a soap opera.
  17. Bad movie!
    • 46 Metascore
    • 40 Critic Score
    Bullock is refreshingly natural, as usual, but Affleck seems uncomfortable as the romantic lead--if she's light as a feather, he's stiff as a board. Marc Lawrence's implausible script and Bronwen Hughes's tin-ear direction do nothing to improve matters.
  18. The Catholic Church has nothing to fear from this film. It is not just tripe. It is self-evident, spirit-lowering tripe that could not conceivably cause a single member of the flock to turn aside from the faith.
  19. Has its satirical charms, but it repeats itself remorselessly, and it has no emotional center. We are so distant from Val that when he gets his sight back we don't feel a thing. [20 May 2002, p.114]
    • The New Yorker
  20. We don’t ask for much from this kind of movie, but Knight and Day tramples on our desire for just enough plausibility to release the fun. It makes us feel like fools for wanting to be entertained by froth.
    • 46 Metascore
    • 50 Critic Score
    But ultimately all that melancholy stifles the characters.
  21. The fight against traditionalism has long been won, so the movie’s indignation feels superfluous, but Mike Newell’s direction is solid, the period décor and costumes are a sombre riot of chintz and pleated skirts, and the movie has an air of measured craft and intelligence. [22 & 29 December 2003, p. 166]
    • The New Yorker
  22. This is one of the rare movies that are too sensitive for their own good.

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