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. The Nightingale
    The movie simmers with a longing for revenge, frequently boiling over, and the foe is not just Hawkins but the colonialist order for which he stands: barbarism, thinly disguised as civilization. Many scenes feel punishingly hard to watch.
  2. The Man Who Knew Too Much
    The best scenes--especially an assassination attempt at Royal Albert Hall--are stunning, but Hitchcock seems sloppily unconcerned about the unconvincing material in between the tricks and jokes.
    • The New Yorker
  3. Presence
    Soderbergh’s premise is no mere gimmick. Working with a script by David Koepp, he infuses his dramatic mechanism with substantial themes.
  4. The Road Warrior
    The film is one continuous spurt of energy...But the picture is abstract in an adolescent way. Miller's attempt to tap into the universal concept of the hero (as enunciated by Jung and explicated by Joseph Campbell in "The Hero with a Thousand Faces") makes the film joyless.
    • The New Yorker
  5. I, Tonya
    Gillespie stages his empathy for Tonya at arm’s length; he fails to respond to her experience in a direct, personal way. The result is a film that’s as derisive and dismissive toward Tonya Harding as it shows the world at large to have been.
  6. Grindhouse
    The movie won't do much for anyone who doesn't have an academic or fanboy absorption in junk.
  7. Caesar Must Die
    The result feels, like Shakespeare's play, at once ancient and dangerously new.
  8. Maestro
    For all its turbulent action and extravagant expressiveness, Maestro is hollow; even its strongest moments play like false fronts, like veneer far fuller, stranger, more struggle-riddled lives.
  9. Project Hail Mary
    The directors, Phil Lord and Christopher Miller, and the screenwriter, Drew Goddard, clearly want us to shed a few of our own. They also want to make us laugh, and their instincts are often at lumpy cross-purposes.
  10. Relic
    It’s a hell of a performance by Robyn Nevin, who’s had a long and commanding career on the Australian stage.
  11. Good News
    One of the best of the lighthearted rah-rah collegiate musicals.
    • The New Yorker
  12. Chi-Raq
    The topic is so grave, and the corralling of ancient Greek comedy so audacious, that you long for Chi-Raq to succeed. Sad to report, it’s an awkward affair, stringing out its tearful scenes of mourning, and going wildly astray with its lurches into farce.
  13. Young and Innocent
    The film is pretty fair Hitchcock, though not as sexy or as witty as the 39 Steps.
    • The New Yorker
  14. Who's Crazy? (1966)
    With bold and canny camera work that yields an uproarious parody of Ingmar Bergman’s “The Seventh Seal,” White dynamites the formalist restraint of art films and the bonds of narrative logic to unleash the primal ecstasy of the cinema.
  15. Animal Crackers
    It was a Broadway musical comedy, slightly adapted, and filmed in Astoria--and it looks stagey. But the film is too joyous for cavilling.
    • The New Yorker
  16. The Autobiography of Miss Jane Pittman
    Tyson's performance and Korty's tact are more than enough to compensate for the flaws.
    • The New Yorker
  17. Love Lies Bleeding
    Ultimately, the true genre of “Love Lies Bleeding” is a Kristen Stewart movie. That genre, too, is one that the director neither expands nor reinvents.
  18. Calvary
    The tension of Calvary is fitful at best, and much of the movie trips into silliness, but in Brendan Gleeson -- in his proud bearing and his lamenting gaze -- we see the plight of the lonely believer in a world beyond belief. [4 Aug.2014, p.74]
    • The New Yorker
      • Posted Aug 1, 2014
  19. Tom Jones
    Tony Richardson whizzes through the Henry Fielding novel, but he pauses long enough for a great lewd eating scene.
    • The New Yorker
  20. Apples
    The symptoms may be far from covid-like, and the mortality rate, as far as we can gather, is blessedly low, but what Nikou evokes, with a haunting prescience, is the air of a stunned world.
  21. The Beguiled
    There is barely a graceless frame in the whole affair.
  22. Winter Kills
    It may be a hectic, giddy, absurd movie—but, in its evocation of a conspiracy so logical that it is beyond belief, the film dramatizes the power of such an idea to attract true believers.
  23. A Star Is Born
    The film is peculiarly masochistic and self-congratulatory.
    • The New Yorker
  24. Village of the Damned
    It's clever and has some really chilling moments.
    • The New Yorker
  25. Carnal Knowledge
    As Mike Nichols has directed the material, the effects are almost all achieved through the line readings, and the cleverness is unpleasant -- it's all surface and whacking emphasis.
    • The New Yorker
  26. The Story of a Three-Day Pass
    It’s among the great American films of the sixties—including Juleen Compton’s Stranded and Jim McBride’s David Holzman’s Diary—that display the global reach of that Paris-centered movement.
  27. Philomena
    What could be a plain tale -- and is in danger of becoming a sappy one -- grows surprisingly inward and dense. [25 Nov. 2013, p.135]
    • The New Yorker
      • Posted Nov 22, 2013
  28. Get Low
    Get Low is deftly played, and it rarely mislays its ambling charm, but what a forbidding fable it could have been if the truth about Felix Bush, rather than emerging into sunlight, had slunk back into the woods.
  29. Blue Collar
    The pictures seems dogged and methodical, though it is graced with a beautiful performance by Kotto.
    • The New Yorker
  30. The Immigrant
    In this movie, Phoenix turns himself inside out, but Cotillard’s reserved performance doesn’t move us. Bruno advances in his confused way, Ewa resists, and, despite Jeremy Renner’s flickering presence, the movie becomes dour and repetitive. Looking at them, you finally think, Enough! Life must be elsewhere.
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