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 0.8 points 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. Air
    The movie’s substance remains largely implicit; its pleasures are partial, detached, and superficial. It offers little context, background, personality, or anything that risks distracting from the show.
  2. Showing Up
    It’s a quiet, candid, sharply conceived and imaginatively realized masterwork, her first film of such bold and decisive originality; it’s Reichardt’s first great movie.
  3. Acidman
    In short, this film is what would remain if you deleted all the spaceships from Close Encounters of the Third Kind: the tale of a once ordinary man beset by an unworldly thirst that he can neither explain nor quench.
  4. Joyland
    Sadiq is not lecturing us or trading in types; he is taking us by sensory surprise, and the tale that he tells is funny, forward, and sometimes woundingly sad.
  5. Petrol
    Lodkina borrows one of the most familiar of young filmmakers’ tropes—the drama of a film student struggling to complete a thesis film—and transforms it into something as original as it is personal.
  6. A Thousand and One
    Rockwell’s vigorous detailing of personal life—with its evocation of inner lives—is at the heart of its political vision and of its dramatic strength.
  7. Walk Up
    The impasse implied in “The Novelist’s Film” gets a strenuous and sardonic dramatic workout in "Walk Up," which is both a work of art and a theory of art—or, rather, several theories, which emerge in the course of the discussions between characters who are themselves artists or former artists.
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