The New Yorker's Scores

  • Movies
  • TV
For 2,717 reviews, this publication has graded:
  • 37% higher than the average critic
  • 2% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Dressed to Kill
Lowest review score: 0 The Da Vinci Code
Score distribution:
2717 movie reviews
  1. The film’s view of a mind thrown back on itself, and the profound vulnerability, mental derangement, and physical degradation that result, is, true to form, a political horror.
  2. This is classic Petzold territory, where you can dwell in a place, or a relationship, without ever quite belonging there.
  3. To dramatize such binding ideals, for almost two and a half hours, and to conjure precipitous revels from next to nothing, as Miranda and Chu have done, is no small feat.
  4. Whereas Cruella sent me back to Dodie Smith, as a blessed escape from what Disney has done to her creations, Tove dispatched me down a rabbit hole, or through a Moomin door. I recommend the trip.
  5. Emotions are not toyed with glancingly but stretched out and blazoned forth, and the result is that the new film is nearly an hour longer than the original cartoon.
  6. A Quiet Place Part II is filled with striking, clever details; it displays no sense whatsoever of the big picture. That failure is the difference between directing and just making a movie.
  7. Its script is junk—but junk brought to the screen with verve.
  8. The movie is also sparing with metaphors and symbols—though the few that Rasoulof builds into the texture of the drama, such as a view of Javad’s wet military uniform hanging from a tree and an image of a fox prowling around a farm, are piercingly effective.
  9. The plot of The Dry, it has to be said, is not a model of elegance and plausibility. I sniffed out the villain, who barely merits the description, a fair way off, and the dénouement, though it involves the threat of fire-starting, is the dampest of squibs. Yet the film has serious staying power.
  10. In its depiction of Guruji’s mastery, The Disciple conjures the wonders and the mysteries of a life that is itself a work of art.
  11. You could argue that a little of this goes a long way, but that’s the point. An Andersson movie is a gallery of littles, each of them going a very long way.
  12. Her rhapsodic tribute to the teeming artistic apprenticeship that Paris soon offered her isn’t solely a vision of beauty: she also observed, and unsparingly recalls, the political and social ugliness with which she was confronted during her time there.
  13. Eventually, despite a number of Dionysian interludes, not least a drug-driven scooter ride with neither helmets nor clothes, this on-off emotional rhythm grows demoralizing, and the movie becomes a less than appealing blend of rave and rut.
  14. Most of Burger’s film, in truth, is either numb or dumb.
  15. One mark of the Godzilla franchise is the ingenuity with which each director manages to waste the talents of an excellent cast.
  16. As in life, intelligence in movies isn’t one-dimensional; it may be woefully lacking from one aspect of a film but shiningly present in another. Although the fight scenes in Nobody offer clever touches, they are nonetheless too stiffly convention-bound to give the movie energy.
  17. It is a grind, it is a slog, it is a bore—it’s a mental toothache of a movie, whose ending grants not so much resolution as relief.
  18. The director Chris McKim incisively intertwines a generous batch of audio interviews with Wojnarowicz’s friends, family, and associates; a rich set of archival footage to conjure his time and place; and vigorous effects to evoke his inner world.
  19. Yet the movie, less stirring than it ought to be, is peculiarly cramped, lacking the emotional latitude of Bridge of Spies. Spielberg dramatized a clash of moral principles, under the cover story of a thriller, but The Courier is all that it appears to be and not much more.
  20. The new film finds a few of its most inspired moments where it revises the plot to reflect current sensibilities, but its strained efforts at reviving the characters and situations of the original make it feel both hollow and leaden.
  21. Let’s be honest: the mainspring of The Father, onscreen, is the presence of Hopkins—an actor at the frightening summit of his powers, portraying a man brought pitifully low. The irony is too rare to resist.
  22. An echo of an echo, a convergence of social-scientific cinema and stifled screams of pain that appears designed, urgently and precisely, to break the silence.
  23. Nomadland is not primarily a protest. Rather, it maintains a fierce sadness, like the look in its heroine’s eyes, alive to all that’s dying in the West.
  24. Judas and the Black Messiah needed a coup of casting in order to find a performance that’s up to the character of Hampton. Kaluuya’s seems, instead, to render the extraordinary more ordinary, to indicate and assert Hampton’s unique, historic character rather than embodying it.
  25. The narrow and merely illustrative drama is matched, unfortunately, by an impersonal cinematography that fails to suggest texture or intimacy.
  26. Its effortful attempts to craft and sustain an ominous mood comes at the expense of observation, which is too bad, because the film’s premise is powerful and its lead actors are formidable.
  27. The actors’ skill is in the foreground, and it’s impressive—it’s the one thing worth watching the movie for (remarkably, this is Zendaya’s first major dramatic-movie role). But Levinson spotlights that skill at the expense of emotional risk, including—indeed, especially—any of his own.
  28. What sets this film apart is its fusing of the impassioned and the grimly palpable.
  29. It bears renewed witness to King’s eloquence, which is no less astounding in casual exchanges than on grand occasions.
  30. The revelation here is Chevallier—or, to quote the end credits, “Martine Chevallier of the Comédie Française”—as Mado. Watch her watching the people around her, after the languid strength of her body has failed. Some of them discuss her as if she were absent, or dead, but her sharp blue eyes, following the action, and almost filling the movie screen, show that her wits are intact. So is her force of will. She’s all there.

Top Trailers