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. American Gangster
    The pace of the movie is rapid, almost hectic, the touch glancing. Until the confrontation between Frank and Richie at the end, nothing stays on the screen for long, although Scott, working in the street, or in clubs and at parties, packs as much as he can into the corners of shots, and shapes even the most casual scenes decisively.
  2. Leave No Trace
    Only after the movie ends do you understand what Debra Granik, with a consummate sleight of hand, has done. Here, among the peaceful trees, without a shot fired in anger, she’s made a war film.
  3. Some Like It Hot
    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
  4. The Counterfeiters
    The Counterfeiters is a testament to guile. Ruzowitzky scored the picture with tangos, and the tangos are meant to be Sally’s music--seductive, insolent, triumphant.
    • 62 Metascore
    • 80 Critic Score
    The Negotiator
    F. Gary Gray, the young director of the 1996 female heist film "Set It Off," runs with a good script (by James DeMonaco and Kevin Fox) and gives us the summer's first action film that's as rich in character as it is in suspense.
  6. Our Little Sister
    The practiced calmness of Kore-eda’s approach is such that you barely notice the speed at which he tugs the plot along and flips from one setting to the next.
  7. Moonrise Kingdom
    Anderson's great gift is to catch the generations as they intersect. [4 & 11 June 2012, p 132]
    • The New Yorker
      • Posted Jun 4, 2012
  8. Me and Orson Welles
    This is a movie of great spirit and considerable charm. It’s about the giddiness of promise--the awakening of young talent, after years of the Depression, to a moment when anything seems possible.
  9. To Rome with Love
    To Rome with Love is light and fast, with some of the sharpest dialogue and acting that he's put on the screen in years. [2 July 2012, p.84]
    • The New Yorker
      • Posted Jul 1, 2012
  10. The Age of Innocence
    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.
    • 82 Metascore
    • 80 Critic Score
    Hands on a Hardbody: The Documentary
    When Sydney Pollack made They Shoot Horses, Don't They? in 1969, the desperation of its dance-marathon contestants was palpable, but the film's Depression-era setting allowed the audience some distance. Hands on a Hard Body hits closer to home.
  12. Dreamscape
    Tight, clever thriller.
    • The New Yorker
  13. Presence
    Soderbergh’s premise is no mere gimmick. Working with a script by David Koepp, he infuses his dramatic mechanism with substantial themes.
  14. Last Summer
    Breillat directs her cast with precise clarity, and her exacting staging produces both intensely evocative moments and a rare, quietly terrifying pugnacity that permeates the drama.
  15. Félicité
    The movie is a virtual documentary of city sights and moods, and also a bitter exposé of a country without a social safety net.
  16. My Golden Days
    Oddly, the effect of that imbalance is not just to heighten the charm of the film but to render it more credible: the course of true memory never did run smooth.
  17. Thieves Like Us
    Robert Altman finds a sure, soft tone in this movie, from 1974, and he never loses it. His account of Coca-Cola-swigging young lovers in the thirties is the most quietly poetic of his films; it’s sensuous right from the first pearly-green long shot, and it seems to achieve beauty without artifice.
  18. Roger Dodger
    There are times when the movie's entertainment value verges on the scandalous. [4 November 2002, p. 110]
    • The New Yorker
  19. Imperial Dreams
    Malik Vitthal’s first feature gives rich dramatic life to a piercingly analytical view of the American way of incarceration.
  20. 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?
  21. Steve Jobs
    The dichotomy turns out to be a false one: whether you revile him or genuflect before him, you are still implying that the guy demands and deserves our fascination. What Sorkin and Boyle have to offer is not a warts-and-all portrait but the suggestion that there is something heroic about a wart.
  22. The Father
    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.
  23. Seabiscuit
    If Ross had merely told his story and re-created the media folk culture of the thirties, the movie might have been a classic. [4 August 2003, p. 84]
    • The New Yorker
  24. Passing
    Passing is a drama of vision and of inner vision, of appearances and images and self-images, and Hall’s spare and reserved cinematic style serves to emphasize the inward aspect of the action, its crises of consciousness.
  25. The Death of Mr. Lazarescu
    The Death of Mr. Lazarescu, for all its terrible matter-of-factness, produces tumultuous feelings of amazement and revolt.
  26. Lost in Translation
    Not much happens, but Coppola is so gentle and witty an observer that the movie casts a spell. [15 September 2003, p. 100]
    • The New Yorker
  27. Caesar Must Die
    The result feels, like Shakespeare's play, at once ancient and dangerously new.
  28. King Richard
    What makes Green’s film so persuasive is that other characters—above all, the redoubtable Brandi Williams—are alive to everything that’s absurd and overbearing, as well as noble, in the hero’s cause.
  29. Brick
    All in all, this twerpy little movie is one of the most entertaining pictures to be released so far this year.
  30. Pan
    Wright’s best film so far, livelier and more disloyal to its source than “Atonement” or “Pride and Prejudice” — crams without a care. The outcome is that increasing rarity, a proper children’s film; even the tears are well earned.
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