The New Yorker's Scores

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For 3,482 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Fiume o morte!
Lowest review score: 0 Bio-Dome
Score distribution:
  1. Positive: 1,940 out of 3482
  2. Mixed: 1,344 out of 3482
  3. Negative: 198 out of 3482
3482 movie reviews
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  1. Tampopo
    The movie is constructed like a comic essay, with random frivolous touches, and much of it is shot in hot, bright color that suggests a neon fusion of urban night life and movie madness. The subtexts connect with viewers' funnybones at different times, and part of the fun of the movie is listening to the sudden eruptions of giggles--it's as if some kids were running around in the theatre tickling people.
    • The New Yorker
  2. I Know Where I'm Going!
    This is a charmer of a movie.
    • The New Yorker
  3. Blow Out
    On paper this movie, written and directed by Brian De Palma, might seem to be just a political thriller, but it has a rap intensity that makes it unlike any other political thriller...It’s a great movie.
  4. The Magician
    This Ingmar Bergman film isn't a masterwork, or even a very good movie, but it is clearly a film made by a master.
    • The New Yorker
  5. Point Blank
    Intermittently dazzling, the film has more energy and invention that Boorman seems to know what to do with. He appears to take the title literally; one comes out exhilarated but bewildered.
    • The New Yorker
  6. Tangerine
    Baker revels in the power of clichés and the generic energy of his low-fi cinematography, which is done with a cell phone. The results are picturesque and anecdotal.
  7. The Remains of the Day
    This Merchant-Ivory production strains so hard to portray dignified restraint that it almost seizes up with good manners.
  8. To Be or Not to Be
    Ernst Lubitsch, who directed, starts off on the wrong foot and never gets his balance; the performers yowl their lines, and the burlesque of the Nazis, who cower before their superior officers, is more crudely gleeful than funny.
    • The New Yorker
  9. Dog Day Afternoon
    One of the best 'New York' movies ever made.
    • The New Yorker
  10. An Elephant Sitting Still
    Its mighty ambition and mighty power are suggested by its unusual length (it runs nearly four hours) and its distinctive, original style and tone. Yet it’s rooted in a familiar kind of story, a tale of the sort that lesser filmmakers could easily dramatize in familiar ways but which Hu expanded into a vision of life.
  11. Anatomy of a Fall
    As the cinematic equivalent of an airport read, Anatomy of a Fall is adequate—not brisk but twisty, not stylish but unobtrusively informational. But the artistic failings are obvious and distracting throughout.
  12. Nebraska
    Bob Nelson wrote the script, which Payne has been mulling over for nine years, and some of it, enhanced by the deliberate pacing of his direction, is funny in a deadpan, black-comedy way. But the absurdist atmosphere feels thin: the movie is like a Beckett play without the metaphysical unease, the flickering blasphemies and revelations.
  13. Written on the Wind
    The Director, Douglas Sirk, shows his talent for whipping up sour, stylized soap operas in posh settings.
    • The New Yorker
  14. Black Narcissus
    This is a landmark of Hollywood-on-Thames trompe-l’oeil.
  15. Million Dollar Baby
    Has a beautifully modulated sadness that's almost musical. Eastwood once made a movie about Charlie Parker ("Bird"), but this picture has the smoothly melancholic tones of Coleman Hawkins at his greatest.
  16. Dawson City: Frozen Time
    The film locates extraordinary political and cultural tributaries, marked by archival footage, that arise from the history of Dawson City and the gold rush.
  17. Rebecca
    Magnificent romantic-gothic corn, full of Alfred Hitchcock's humor and inventiveness.
    • The New Yorker
  18. The Babadook
    No male director would have put so much as a toe inside this trouble zone, although Kent does borrow a helpful domestic hint from “Shaun of the Dead”: rather than vanquish our worst nightmare, why not tame it, lock it away, and hope?
  19. Little Men
    The best reason to watch Little Men is Michael Barbieri, who musters a blend of soulfulness and aggression that would be remarkable at any age.
  20. The Kids Are All Right
    There are not only glancing moments but whole sequences in this movie when the agony of social embarrassment makes you want to haul the characters to their feet and slap them in the chops.
  21. Cave of Forgotten Dreams
    The eye must travel not merely through the earth's crust but backward in time, as well. Indeed, you could argue that Herzog has succeeded in making the world's first movie in 4-D. [2 May 2011, p. 88]
    • The New Yorker
      • Posted May 7, 2011
  22. Our Land (Nuestra Tierra)
    Our Land is the work of a great filmmaker exploring the boundaries of a relatively unfamiliar form.
  23. The Big Sleep
    The action is tense and fast, and the film catches the lurid Chandler atmosphere.
    • The New Yorker
  24. Carrie
    The best scary-funny movie since "Jaws" - a teasing, terrifying, lyrical shocker, directed by Brian De Palma, who has the wickedest baroque sensibility at large in American movies. Pale, gravel-voiced Sissy Spacek gives a classic chameleon performance as a repressed high-school senior.
    • The New Yorker
  25. Hope and Glory
    The movie is wonderfully free of bellyaching; it's a large-scale comic vision, with 90-foot barrage balloons as part of the party atmosphere.
    • The New Yorker
  26. Loveless
    Why is it, then, that Loveless, which has been nominated for Best Foreign Film at this year’s Academy Awards, should be so much more gripping than grim? One reason is that, for all the deadened souls who throng the tale, the telling could not be more alive.
  27. Showing Up
    It’s a quiet, candid, sharply conceived and imaginatively realized masterwork, her first film of such bold and decisive originality; it’s Reichardt’s first great movie.
  28. In the Bedroom
    Field achieves so convincing a picture of everday normality that when violence breaks out one feels the same disbelief that one feels when it breaks out in life. [26 Nov 2001, p. 121]
    • The New Yorker
  29. The Thin Man
    It started a new cycle in screen entertainment by demonstrating that a murder mystery could also be a sophisticated screwball comedy.
    • The New Yorker
  30. Of Gods and Men
    This movie can hardly help being beautiful, in such a rarefied domain, but what matters is that it never looks merely beautiful. [28 Feb. 2011, p. 81]
    • The New Yorker
      • Posted Feb 25, 2011
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