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. Hotel Mumbai
    Is it any surprise that this disturbing brand of cinema was triggered by 9/11, a catastrophe that, despite the valor it called forth, and the wars that ensued, lies beyond redemption and revenge? Or that Hotel Mumbai, a well-staged model of the form, should leave you feeling fidgety and low? You can admire a film, reel at the horrors it unfolds, and still wind up asking yourself, helplessly, what it was all for.
  2. The Young Karl Marx
    The movie’s plush, cozy aesthetic and unintentionally funny melodrama are at odds with its subjects: revolt, theory, originality, and observation.
  3. V for Vendetta
    The quarter-century-old disgruntled fantasies of two English comic-book artists, amplified by a powerful movie company, and ambushed by history, wind up yielding a disastrous muddle.
  4. Solo: A Star Wars Story
    How keenly you respond to it will depend on how tempted you are by the salad days of Solo. Personally, I preferred him in “The Force Awakens” (2015), at the other end of his career.
    • 62 Metascore
    • 60 Critic Score
    The Mask of Zorro
    Director Martin Campbell's lumpy direction doesn't coalesce into anything much beyond a pleasant assembly of set pieces.
  6. The Sweet East
    Large in conception, it comes across as small of spirit, cramped in its sympathies and crabby in its attitudes.
  7. Hollywoodland
    Thanks to Lane, Hollywoodland, no great shakes as a thriller, becomes a quiet horror story about the monstrosity of time.
  8. 42
    Sixty-six years later, when a black man holds the Presidency, equality may still be, for some, unbearable, but Robinson abruptly moved America forward. 42, however limited at times, lays out the tortured early days of that advance with clarity and force.
  9. Greystoke: The Legend of Tarzan, Lord of the Apes
    In the film's second half, Hudson twists the story into knots in order to deliver his "statement" that apes are more civilized than people; the movie simply loses its mind, and dribbles to a pathetically indecisive conclusion.
    • The New Yorker
  10. Godzilla
    Skip Godzilla the movie. Watch the trailer.
  11. Cherry Blossoms
    The movie's conceits are just barely endurable, but the sharpness of Dörrie's eye--for Tokyo's electric night, for Fuji's iconographic landscapes, for cherry blossoms--sustains emotion even when story logic fails.
  12. Killer Joe
    Even if you like your movies sick and black, as many people do, it's hard to miss the irony: in the very act of trying to intensify his Southern tale, Friedkin dilutes the impact.
  13. Lord of War
    A raffishly ironic and insinuating movie--and probably the most sheerly enjoyable film of the year so far.
  14. American Dharma
    American Dharma succeeds neither as journalism nor as portraiture, neither as political critique nor as cultural survey nor as psychological study.
  15. Begin Again
    Sappy but engaging. [7 & 14 July 2014, p.95]
    • The New Yorker
      • Posted Jul 5, 2014
  16. Ocean's Thirteen
    Soderbergh ends the movie with a few jokes, which is casual and neat but leaves you wondering whether the practice of making enormous movies about nothing isn't a little mad.
  17. Patty Hearst
    This stylized movie of ideas is a lean, impressive piece of work.
  18. Beetlejuice Beetlejuice
    Where its predecessor kept a foot planted in reality, “Beetlejuice Beetlejuice” barrels through the underworld with an ever-looser, crazier Looney Tunes energy.
    • 62 Metascore
    • 30 Critic Score
    Air Force One
    The picture's attempt to satisfy the aggressive fantasies of a graying white-male audience is weirdly fascinating. It's something you don't see every day: a geriatric comic book.
  20. The Bounty
    Based on a script condensed from Robert Bolt's scripts for two projected films about the 1789 mutiny, this misshapen movie doesn't work as an epic -- it doesn't have the scope or the emotional surge of epic storytelling. It's certainly not boring, though.
    • The New Yorker
  21. Klown
    Even when the male of the species tries to do better, he does his worst; and the most merciless verdict in Klown is delivered not by the law, or by fate, but by the eyes of women.
  22. The Boys in Company C
    The director, Sidney J. Furie, brings the film energy and he keeps the gags and the sentiment coming.
    • The New Yorker
  23. The Children Act
    It’s worth seeing precisely for the heat of the arguments that you can enjoy after the screening and, above all, for Emma Thompson.
  24. Kong: Skull Island
    The thing that breaks the back of this movie, and makes the second half so much less prodigious than the first, is a simple matter of geography. Once the combatants are split up and scattered around the island (Packard here, Chapman there, Conrad and Marlow stuck in their own heart of darkness), the story loses focus and even starts to drag.
  25. The Fly
    Tacky low-budget picture about a scientist whose carelessness gets him into a tragic pickle.
    • The New Yorker
  26. Conversations with Other Women
    In the end, the problem with Conversations with Other Women is not that it pulls an ordinary romance into unfamiliar shapes but that it doesn't pull far enough. It may be dotted with fine observations, yet somehow the charm of its novelty grows stale, and the airless feeling of a closed set begins to fester.
  27. 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
  28. Harold and Maude
    The message is not very different from that of Hello, Dolly! or Mame, but Harold's flaccid asexuality (he's like a sickly infant, a limp, earthbound Peter Pan) and Maude's advanced stage of pixiness give that message a special freaky quality. And the film has been made with considerable wit and skill.
    • The New Yorker
    • 62 Metascore
    • 50 Critic Score
    Dolores Claiborne
    The story moves forward smoothly, but the pace is too even and the course is predictable.
  30. Marooned
    A space epic with a horse-and-buggy script. It's dull out there in space, though not as depressing as listening to the astronauts' wives back home. John Sturges directed, in his sleep
    • The New Yorker
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