The New Yorker's Scores

  • Movies
  • TV
For 1,795 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 point higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Columbus
Lowest review score: 0 The Da Vinci Code
Score distribution:
1795 movie reviews
  1. The Orson Welles film is generally considered the greatest American film of the sound period, and it may be more fun than any other great movie.
    • The New Yorker
  2. The most familiar movie in the world is still fresh; it has so many little busy corners to nestle in... Casablanca is the most sociable, the most companionable film ever made. Life as an endless party.
  3. The profuse pleasures of Boyhood spring not from amazement but from recognition — from saying, Yes, that’s true, and that feels right, or that’s how it was for me, too.
  4. This exuberant satire of Hollywood in the late 20s, at the time of the transition from silents to talkies, is probably the most enjoyable of all American movie musicals.
    • The New Yorker
  5. Jenkins burrows deep into his characters’ pain-seared memories, creating ferociously restrained performances and confrontational yet tender images that seem wrenched from his very core.
  6. For the first, and maybe the only, time this year, you are in the hands of a master.
  7. So smartly has del Toro thought his fable through, and so graceful is his grasp of visual rhyme, that to pick holes in it seems mean; yet Pan's Labyrinth is perhaps more dazzling than involving--I was too busy reading its runes and clues, as it were, to be swept away. It is, I suspect, a film to return to, like a country waiting to be explored: a maze of dead ends and new life.
  8. Ersatz art of a very high grade, and one of the most enjoyable movies ever made.
    • The New Yorker
  9. Mungiu’s pacing is so sure, however, in its switching from loose to taut, and the concentration of his leading lady so unwavering, that the movie, which won the Palme d’Or at last year’s Cannes Film Festival, feels more like a thriller than a moody wallow.
  10. Lemmon is demoniacally funny - he really gives in to women's clothes, and begins to think of himself as a sexy girl. Monroe gives perhaps her most characteristic performance, which means that she's both charming and embarrassing.
    • The New Yorker
  11. Psycho, in its dark and sordid extravagance, remains utterly contemporary, in its subject as well as in its production.
  12. 12 Years a Slave is easily the greatest feature film ever made about American slavery.
  13. Even if you love the film, as I do, all the lurching, stop-and-go exchanges of these unquiet souls may leave you with a craving for “The Philadelphia Story,” or something equally streamlined.
  14. It's genuinely funny, yet it's also scary, especially for young women: it plays on their paranoid vulnerabilities... Mia Farrow is enchanting in her fragility: she's just about perfect for her role.
    • The New Yorker
  15. An almost perfect visual equivalent of the Dashiell Hammett thriller...It is (and this is rare in American films) a work of entertainment that is yet so skillfully constructed that after many years and many viewings it has the same brittle explosiveness - and even some of the same surprise - that it had in its first run.
    • The New Yorker
  16. In Ratatouille, the level of moment-by-moment craftsmanship is a wonder.
  17. Gravity is not a film of ideas, like Kubrick's techno-mystical "2001," but it's an overwhelming physical experience -- a challenge to the senses that engages every kind of dread. [7 Oct. 2013, p.88]
    • The New Yorker
  18. The film is a casting coup, with Blanchett’s inherent languor —plus that low drawl of hers, a breath away from boredom — played off against the perter intelligence of Mara, whose manner, as always, is caught between the alien and the avian.
    • 95 Metascore
    • 80 Critic Score
    The easy-to-follow screenplay, about the rivalry between two toys -- cowboy Woody and spaceman Buzz Lightyear -- should excite young children; teen-agers and parents can enjoy the brilliantly executed action sequences.
  19. This famous film, high on most lists of the greatest films of all time, seems all wrong - phony when it should ring true. Yet, because of the material, it is often moving in spite of the acting, the directing, and the pseudo-Biblical pore-people talk.
    • The New Yorker
  20. Brilliantly entertaining and emotionally wrenching.
  21. The virtue of Zero Dark Thirty, however, is that it pays close attention to the way life does work; it combines ruthlessness and humanity in a manner that is paradoxical and disconcerting yet satisfying as art.
  22. The writer and director, Asghar Farhadi, has thus created the perfect antithesis of a crunching disaster flick, such as "2012," which was all boom and no ripple.
  23. Apparently, the movie has caused annoyance in some quarters because it criticizes the American way of life. This it does, and with suavity and supreme good humor. WALL-E is a classic, but it will never appeal to people who are happy with art only when it has as little bite as possible.
  24. What follows is astounding: a thirty-minute fight, which, in its bitterness, complication, and psychological revelation, recalls episodes from Ingmar Bergman's "Scenes from a Marriage." [27 May 2013, p.86]
    • The New Yorker
  25. Although Dunkirk is not as labyrinthine as Nolan’s “Memento” (2000) or “Inception” (2010), its strike rate upon our senses is rarely in doubt, and there is a beautiful justice in watching it end, as it has to, in flames. Land, sea, air, and, finally, fire: the elements are complete, honor is salvaged, and the men who were lost scrape home.
  26. It may be the most sophisticated political satire ever made in Hollywood. (As quoted by Roger Ebert)
    • The New Yorker
  27. The architecture of Pulp Fiction may look skewed and strained, but the decoration is a lot of fun. [10 Oct 1994, p.95]
    • The New Yorker
  28. Burnett used many kinds of African-American music on the soundtrack, and the movie itself has the bedraggled eloquence of an old blues record. The amateur actors, who occasionally burst into fury, combined with the black-and-white cinematography, bring the poverty of Watts closer to us emotionally.
  29. Mr. Turner is a harsh, strange, but stirring movie, no more a conventional artist’s bio-pic than Robert Altman’s wonderful, little-seen film about van Gogh and his brother, “Vincent and Theo.”

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