The New Yorker's Scores

  • Movies
  • TV
Select another publication »
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
view
per page
  1. The Holdovers
    The fact that characters are provided with statutory secrets, to be disclosed at nicely timed intervals—as happens with Hunham, Angus, and Mary—does not guarantee any intensity in the revelation. The leading players here, however, bring force and grace to the task.
  2. Non-Fiction
    Despite situations aching for parody, Assayas is anything but satirical: as his characters give the book business, the Internet, and infidelity a vigorous but empty dialectical workout, he comes down squarely on the side of business as usual, which the film itself embodies. Yet Macaigne, quizzical and impulsive, invests a rote role with brilliant turns.
  3. Letters from Baghdad
    You emerge from the film with a divided heart: thrilled to hear of a woman who, ignoring the dictates of the age, filled her days to overflowing, yet ashamed to measure your own days and to find them, by comparison, hollow and bare. Is it too late to follow Gertrude Bell’s example? First, hire your camel
  4. Eastern Promises
    Cronenberg made a movie called “The Dead Zone,” and I sometimes wonder whether, for all his formal brilliance, he has ever torn himself away from that locked-in, airless state of mind. You walk out of Eastern Promises feeling spooked and sullied, as if waking from a noisome dream.
  5. The Way We Were
    The romantic star chemistry of Redford and Streisand turns a half-terrible movie into hit entertainment -- maybe even memorable entertainment.
    • The New Yorker
  6. Coup de Chance
    Allen has suggested that “Coup de Chance,” his fiftieth feature, may be his last; if so, he goes out with a self-excoriating bang.
  7. 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.
  8. Cedar Rapids
    Cedar Rapids is certainly a guys' movie, yet it leaves us with the unmistakable impression that men are simple engines. [28 Feb. 2011, p. 80]
    • The New Yorker
      • Posted Feb 25, 2011
  9. Quantum of Solace
    Quantum of Solace is too savage for family entertainment, but, as a study in headlong desperation, it's easier to believe in than many more ponderous films.
  10. Bound for Glory
    An absorbing and impressive piece of work.
    • The New Yorker
  11. The To Do List
    It’s good-natured and raucous, with many scenes that are just sketched but a few that are truly funny.
  12. There's Always Tomorrow
    In contrast to the typical stoic masculinity of fifties Hollywood, this is “A Doll’s House” for the sensitive, passionate married man.
  13. Centurion
    The film has a resigned bitterness, hard to shake off, that feels right for the experience of tough guys, from whatever period of history, who find themselves at the tattered edge of what they take to be civilization.
  14. We Bought a Zoo
    Nothing that happens in this movie is in the least surprising, but it's all quite pleasant and even, at times, moving.
  15. Nymphomaniac: Volume I
    Like most porn, even art porn, Nymphomaniac falls apart at the end. Von trier even seems to be pranking the audience. But the director has at last created a genuine scandal -- a provocation worth talking about. [24 March 2014, p.84]
    • The New Yorker
      • Posted Mar 24, 2014
  16. Adam's Rib
    Cukor's work is too arch, too consciously, commercially clever, but it's also spirited, confident.
    • The New Yorker
  17. The Life Aquatic with Steve Zissou
    Nobody could leave The Life Aquatic without the impression of having nearly drowned in some secret and melancholy game.
  18. 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.
  19. Magic in the Moonlight
    It's an accomplished, stately movie -- unimpassioned but pleasing. [28 July 2014, p.78]
    • The New Yorker
      • Posted Jul 24, 2014
  20. Radio Days
    It's pure nostalgia--the past sweetened and trivialized. The mood is soft regret: he treats the old songs as a value that we've lost.
    • The New Yorker
  21. Vantage Point
    Is it art? Not remotely. But, up to the final scenes, it’s a tremendous piece of engineering. After all, the narratives have to synch up visually, which can’t be easy to manage. And the hurtling force of Vantage Point is fun to watch.
  22. Trouble with the Curve
    The intricate baseball knowledge that gets passed back and forth among the characters in Trouble with the Curve is much more interesting than the moral simplicities that the movie offers. [8 Oct. 2012, p.87]
    • The New Yorker
      • Posted Oct 7, 2012
  23. Jo Jo Dancer, Your Life Is Calling
    Above all, Pryor emphasizes (with deft compositions involving mirrors and effects) Jo Jo’s elusive selfhood—the fundamental problem of what performers who feel fully alive only while onstage or on camera do with the rest of their time.
  24. Lone Survivor
    Lone Survivor will not please people exasperated by an endless war, but it's an achievement nonetheless. [6 Jan. 2014, p. 73]
    • The New Yorker
      • Posted Jan 6, 2014
  25. High Life
    Denis delves into the group psychology of a beleaguered crew, housed in an interplanetary rust bucket. Her devotees will claim, correctly, that her movie blooms with provocative ideas.
  26. Young and Innocent
    The film is pretty fair Hitchcock, though not as sexy or as witty as the 39 Steps.
    • The New Yorker
  27. Vanity Fair
    Smart, saucy, and ingenious in the extreme. The trouble is that when a subtext is dragged to the fore, however splendidly, the poor old text gets lost.
  28. The Italian Job
    Good summer fun, but it’s only about two-thirds the picture it could have been. Since Edward Norton has nothing to play against, the rivalry at the heart of the movie never heats up. [16 & 23 June 2003, p. 200]
    • The New Yorker
  29. Monty Python's Life of Brian
    For all its scruffiness, the lurching strike-rate of its gags, and the unmistakable smell of amateur dramatics given off by its repertory of rotating players with their stick-on Ted Nugent beards, Life of Brian jitters with good will. [3 May 2004, p. 110]
    • The New Yorker
  30. Stripes
    The picture is just a flimsy, thrown-together service comedy about smart misfits trying to do things their own way in the Army. But it has a lot of snappy lines (the script is by Len Blum, Dan Goldberg, and Ramis), the director, Ivan Reitman, keeps things hopping (it's untidy but it doesn't lag), and the performers are a wily bunch of professional flakes.
    • The New Yorker
Page:

Top Trailers

See all »
See all trailers »