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. Ophelia
    From the opening shot of Ophelia adrift in a river, in mimicry of Millais’s famous painting, the film seems to splash around in search of a suitable style. The drama is no longer a tragedy but a fairy tale — almost, at times, a farce.
  2. The American Meme
    What is fascinating, and valuable, about The American Meme is its ability to reveal the desperation, loneliness, and sheer Sisyphean tedium of ceaselessly chasing what will most likely end up being an ever-diminishing share of the online-attention economy.
  3. In Her Shoes
    Not once does this ruffled sweetness seem like Hanson’s natural terrain. "Wonder Boys" took emotional risks, daring to suggest that with age comes not wisdom but confusion and crummy robes, whereas everything in the new film is designed to slot together with an optimistic click.
  4. Tomorrowland
    Tomorrowland is a bright and pliable sci-fi thriller that stiffens into a sermon. Can’t it just be fun?
  5. Jeannette: The Childhood of Joan of Arc
    Dumont films Joan’s spiritual conflicts and confrontations with playful exuberance but avoids frivolity; the ardent actors infuse Joan’s spirit of revolt with the eternal passions of youth.
  6. Three Thousand Years of Longing
    The movie, though a frantic treat for the retina, is also oddly inactive.
  7. Dark Night
    Under its compelling influence, we are lured into feeling that these various lives, marked by vacuity and frustration, are in some way destined to end at the point of a gun — that the murderer and his victims coexist on a continuum of despair. Try telling that to the people of Aurora.
  8. The Bear
    A combination of raw pulp and gooey kitsch.
    • The New Yorker
  9. RED
    The good news is that, while "The Expendables" was the kind of product that should be shown to health inspectors rather than critics, much of Red is jovial and juvenating. [1 Nov. 2010, p.121]
    • The New Yorker
      • Posted Oct 27, 2010
  10. An Officer and a Spy
    Rather than reconsidering history by intimate acquaintance with a lesser-known hero, it turns its hero into a stick figure no more personalized, complex, or contextualized than a comic-book creation. Far from arousing curiosity, the movie forecloses it.
  11. Rules Don't Apply
    Beatty packs the movie with labored period references and unsubtle allusions to Donald Trump. He delights in Hughes’s high-handed wisdom, his high-stakes gamesmanship, and his petty idiosyncrasies, while looking ruefully at his paranoid reclusiveness.
    • 60 Metascore
    • 60 Critic Score
    Never Been Kissed
    The film, which Barrymore produced, is meant to be a charming coming-of-age story, but it plays a little too sweetly for its own good.
  13. The Andromeda Strain
    Robert Wise, who made this expensive version of the Michael Crichton novel, having chosen a fanatically realistic documentary style, has failed to solve the dramatic problems in the original story. The suspense is strong, but not pleasurable.
    • The New Yorker
  14. Cat Ballou
    Mainly it's full of sort-of-funny and trying-to-be-funny ideas. The director Elliot Silverstein's spoofy tone is ineptitude, coyly disguised.
    • The New Yorker
  15. Analyze This
    You can see the jokes coming well in advance, but you still laugh uncontrollably.
  16. Mrs. Hyde
    Serge Bozon’s sharply political comedy—a giddily imaginative reworking of Robert Louis Stevenson’s classic tale—stars Isabelle Huppert, who revels in its sly blend of dissonant humor, intellectual fervor, and macabre violence.
  17. Red Dragon
    For all the lunacies bared within this film, it has the tick and thrum of a solid studio machine, occasionally shocking but never surprising; it will be watched by everybody, but it feels as if it were made by nobody. [14 & 21 October 2002, p. 226]
    • The New Yorker
  18. The Beaver
    As director, Foster, working with Kyle Killen's screenplay, treats the goofy premise with a literal earnestness-as a family drama about separation and reunion-that seems all wrong. A little wit would have helped.
  19. Mighty Aphrodite
    It treads enjoyably over old ground, and it has a surprisingly foul mouth, though rather than cruising along with the ease of Allen's best work it tends to hobble, and it closes in a flurry of undecided endings.
  20. The Aeronauts
    Here’s the paradox: the closer The Aeronauts gets to peak silliness, the more beautiful it becomes.
  21. The Godfather: Part III
    Lightning didn't strike three times; the movie is lumbering... I don't think it's going to be a public humiliation, and it's too amorphous to damage our feelings about the first two. [1 Jan 1991]
    • The New Yorker
  22. 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
  23. Go for Zucker
    Watching the antic inventions of Go for Zucker, I was moved by the thought that Jews have achieved a kind of Germanness again, and even more moved by the thought that Germans have achieved a kind of Jewishness again.
  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. House of Gucci
    House of Gucci is Gaga’s movie, and she tears into it with an exuberant yet precise ferocity. She is the main reason why the movie at times transcends the limits of its scripted action.
  26. Being the Ricardos
    In peeling away the myths of pop culture and its lovable celebrities, Sorkin reveals the source of its mighty and lasting power.
  27. Mamma Mia! Here We Go Again
    For all its faults, has a musty charm.
  28. Lonely Hearts
    The story of Fernandez and Beck may be grotesque comedy, but Todd Robinson tells it straight, without flinching from its piteousness, horror, or banality.
  29. Bedknobs and Broomsticks
    This whole production is a mixture of wizardry and ineptitude; the picture has enjoyable moments but it's as uncertain of itself as the title indicates.
    • The New Yorker
  30. Midnight Express
    Screenwriter Oliver Stone and the director, Alan Parker, have subjected their Billy (Brad Davis) to the most photogenic sadomasochistic brutalization that they could dream up. The film is like a porno fantasy about the sacrifice of a virgin. It rushes from torment to torment, treating Billy's ordeals hyponotically in soft colors -- muted squalor -- with a disco beat in the background.
    • The New Yorker
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