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. Marie Antoinette
    The one, transfixing virtue of Marie Antoinette is its unembarrassed devotion to the superficial. There is no morality at play here, no agony other than boredom, and, until the last half hour, not a shred of political sense. The fun dies out of the film--in fact, the film itself expires--when Coppola suddenly starts dragging in discussions of the American Revolution.
  2. Seven Psychopaths
    Seven Psychopaths is the kind of movie that can lift someone who's had a crappy day out of a funk. It's an unstable mess filled with lunatic invention and bizarre nonsense, and some of it is so spontaneous that it's elating. [22 Oct. 2012, p.88]
    • The New Yorker
      • Posted Oct 19, 2012
  3. Jack Goes Boating
    If you fancy a modern "Marty," with the old warmth muffled by unfriendly snow, go right ahead. [20 Sept. 2010, p.121]
    • The New Yorker
  4. State of Play
    Crowe has an animal quickness and sensitivity, a threatening way of penetrating what someone is up to, a feeling for weakness in friends as well as opponents. He seems every inch a great journalist; it's not his fault that the filmmakers let the big story slip through their fingers.
  5. The Fighter
    The Fighter, for all the dedication of its players, takes a heavy swing at us, and misses.
  6. The Molly Maguires
    Ritt takes his time in building the atmosphere and introducing the people, and lets an image stay on the screen until we take it in. The movie is impressive yet lifeless.
    • The New Yorker
  7. The Tragedy of Macbeth
    The over-all effect is of a striving toward a high style that isn’t achieved—and that undercuts the mighty import of the play.
  8. The Holdovers
    The calculated silences and cagey revelations result in a movie of truncated characters, with truncated subjectivity, trimmed to fit the Procrustean confines of the script.
  9. Coma
    The scenes inside the Institute have a chill, spectral beauty, yet the spookiness doesn't explode. The movie seems a little too cultivated, too cautious.
    • The New Yorker
    • 66 Metascore
    • 60 Critic Score
    Dark City
    Perhaps too much attention to special effects.
    • 35 Metascore
    • 60 Critic Score
    Sphere
    Levinson is terrific at claustrophobia. In fact, this doesn't resemble any of his previous films so much as it does his gripping TV series, "Homicide."
  12. Fantastic Voyage
    It isn't terrible, just disappointing.
    • The New Yorker
  13. A Real Pain
    It’s a strange movie—far better as a concept than as a drama, though the concept is strong enough to provide a sense of inner experience, making up for what the outer, onscreen experience lacks.
    • 64 Metascore
    • 60 Critic Score
    He Got Game
    The film is gorgeously shot (slow-motion basketballs spin in the air like Kubrick's spaceships), and the majestic Aaron Copland score helps some of the images to soar, but Lee's screenplay, heavy-handed and didactic, gives the actors little room to convey any real emotions.
  15. Rocketman
    Egerton is busy and fizzy in the leading role, but there’s a curious blankness in his impersonation, and a shortage of charm. Hard to tell whether viewers will flock to him as they did to Rami Malek, who gave such electric life to “Bohemian Rhapsody.” Yet Rocketman is the better film. Not by much, but just enough.
  16. How to Have Sex
    The paradox is poignant: the movie is, at its best, so alive to its characters’ immediate experience that it’s all the more regrettable that we do not really know them at all.
  17. Insomnia
    In Insomnia, the crunch comes as the hero and his opposite number hook up on a ferry, to discuss what each of them knows about the other. This should be Nolan's big moment, his answer to that quiet, magnificent interlude in Michael Mann's "Heat," when Pacino met De Niro in a coffee shop. -- But Williams and Pacino just don't mesh. [27 May 2002, p.124]
    • The New Yorker
  18. Guardians of the Galaxy Vol. 2
    Gunn decides to treat the quest for meaning seriously — a lethal move that not only leads to the noisy palaver of the climax but also undermines Chris Pratt, who likes to hold these movies at arm’s length, as it were, and to probe them for pomposity.
  19. Clerks
    The humor of two clerks arguing about ethics and sex deflates before the halfway mark, but the writer-director, Kevin Smith, dishes up some funny profanity in his low-budget black-and-white debut.
  20. Wild
    The scenery, of course, could stop the heart of a mountain goat, and Wild has an admirable heroine, but the movie itself often feels literal-minded rather than poetic, busy rather than sublime, eager to communicate rather than easily splendid.
  21. Take Me Out to the Ball Game
    This asinine story just about smothers the good-natured hoofing.
    • The New Yorker
  22. Night Shift
    This isn't much of a movie but it manages to be funny a good part of the time anyway.
    • The New Yorker
  23. A Hidden Life
    The immensely empathetic view of Franz is overwhelmed by vague spirituality and vaguer politics; the impressionistic methods dispel the story’s powerful and noble specificity.
  24. This Is Elvis
    The film is hair-raising because of what Elvis turns into.
    • The New Yorker
  25. The Barefoot Contessa
    The movie is so ornate and so garrulous about telling the dirty truth that it's a camp classic: a Cinderella story in which the prince turns out to be impotent.
    • The New Yorker
  26. Missing
    Costa-Gavras's antipathy to Americans appears to be so deep-seated that he can't create American characters. The only real filmmaking is in the backgrounds: in the anxious, ominous atmosphere of a city under martial law -- the sirens, the tanks, the helicopters, the feeling of abnormal silences and of random terror.
    • The New Yorker
  27. The Eagle
    Much of Sutcliff's most charged material - the chariot scene, a wolf cub that Marcus rears - is omitted from the movie, and once he and Esca embark on their quest the sense of action grows listless, and our heroes start to seem anxious, wet, and bored. [14 & 21 Feb. 2011, p. 138]
    • The New Yorker
      • Posted Feb 7, 2011
  28. Sweet Dreams
    The cinematography is very ordinary, and most of the staging is uninspired, but Lange has real authority, and the performance holds you emotionally. People cry at this movie though it sin't sentimental - it's an honest tearjerker.
    • The New Yorker
    • 56 Metascore
    • 60 Critic Score
    How Stella Got Her Groove Back
    This is Harlequin Romance land, and the film squeaks by as long as it's content to watch its lovers throwing off sparks.
  30. Mommie Dearest
    The best that can be said about this jumbled scrapbook of Joan Crawford's life from her middle years to the end is that it doesn't seem to get in the way of its star, Faye Dunaway, who gives a startling, ferocious performance.
    • The New Yorker
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