The New Yorker's Scores

  • Movies
  • TV
For 1,718 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 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Get Out
Lowest review score: 0 The Da Vinci Code
Score distribution:
1718 movie reviews
  1. 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.
  2. 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.
  3. 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
  4. 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
  5. 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.
  6. 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.
  7. Yet the film, against my wishes, left me unmoved.
  8. 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.
  9. 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."
  10. Furious and entertaining little morality play.
  11. If you don't mind the gore, you can enjoy Snowpiercer as a brutal and imaginative piece of science-fiction filmmaking. [7 & 14 July 2014, p.94]
    • The New Yorker
  12. The movie is not an argument for chaos; it's an argument for making one's way through life with a relaxed will and an open heart.
  13. Precisely thirty-six times more interesting than “The Girl on the Train.” Where the conceit of that movie feels timid, cooked up, and culturally thin, Anvari’s is nourished by a near-traumatic sense of history, and, in terms of feminist pluck, Rashidi’s presence, in the leading role, is both gutsier and more plausible than the combined efforts of all the main performers in Taylor’s film.
  14. Peele’s perfectly tuned cast and deft camera work unleash his uproarious humor along with his political fury; with his first film, he’s already an American Buñuel
  15. I cannot remember a major movie, not even "The Godfather," that forced me to peer so intently into the gloom. [2 December 2002, p. 87]
    • The New Yorker
  16. As the real-life Ronald Woodroof, he (Mcconaughey) does work that is pretty much astounding. [4 Nov. 2013, p.116]
    • The New Yorker
  17. It has a gentle, unforced rhythm, and what’s there is good and true. But there’s not enough of it--the movie needs more plot, more complication, more conflict.
  18. Linklater barely puts a foot wrong, and he shows that a movie about happiness can be cogent and robust, rather than sappy or wispy; and yet, for all its gambolling mischief, Everybody Wants Some!! leaves us with plenty to rue.
  19. The trouble with experimental comedies is that it's often impossible to figure out how to end them. But at least this one is intricate fun before it blows itself up. [9 December 2002, p. 142]
    • The New Yorker
  20. The movie's story may be a little trite, and the big battle at the end between ugly mechanical force and the gorgeous natural world goes on forever, but what a show Cameron puts on! The continuity of dynamized space that he has achieved with 3-D gloriously supports his trippy belief that all living things are one.
  21. Kechiche digs a good story out of the flux, and, in the movie's final forty minutes, the suspense is terrific.
  22. By the end of the film, you just want to get away from these people.
  23. The movie is an outright miracle. [8 March 2004, p. 92]
    • The New Yorker
  24. Nothing very important happens, but, moment by moment, the movie is alive with the play of gesture and glances, aggression and withdrawal. [31 March 2003, p.106]
    • The New Yorker
  25. '71
    As the camera darts down alleyways, or prowls the housing projects where soldiers fear to tread, what really concerns Demange — and what lends such a kick to O’Connell’s performance, on the heels of “Starred Up” and “Unbroken” — is the bewilderment and the panic that await us, whoever we may be, in limbo.
  26. This is a scary movie and a serious one, because it lures us into the minds, and the earthly domains, of those who are themselves scared, night and day, that they have forfeited the mercies of God. It takes an original movie to remind us of original sin.
  27. An intimate movie with a metaphysical grandeur, a detailed local inquiry that displays the crushing power of societal forces as well as the passion and vitality of those who endure.
  28. Less fruitful is the casting of Michelle Pfeiffer as May's older cousin, the mysterious Countess Olenska, with whom Archer falls hopelessly in love. With her silly blond curls, Pfeiffer looks more plaintive than the dark exotic of Wharton's imagination.
  29. Never has a blockbuster, I would guess, required so many soliloquies. What with the mournful Molina, the hazed-over Dunst, and the puffy uncertainties of Maguire, we in the audience are the only ones who still believe, without qualification, in thrill and spill.

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