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. Bobby
    Estevez has made a vague gesture at a large, metaphoric structure without having the dramatic means to achieve it. His choreography of the panic and misery in the hotel after the shooting is impressive, and some of the actors do fine in their brief roles. But his script never rises above earnest banality, and we are constantly being taught little lessons in tolerance and humanity:
  2. Seberg
    If the story of Jean Seberg is one of the more wretched footnotes in the chronicle of fame, that’s all the more reason to treasure those occasions, onscreen, when she was not a victim — when she bore herself, and whatever pains she harbored, with mastery and grace.
  3. Saturday Fiction
    It’s as daring and original a work of political cinema and personal conscience as the current cinema can offer.
  4. Lifeguard
    Well thought out and with a feeling for ordinary American talk, but too mechanical, too blandly sensitive, too cool to be popular; it's the sort of small-scale picture that's a drag in a theatre but shines on Home Box Office.
    • The New Yorker
  5. Oblivion
    Yet Oblivion is worth the trip. There are two reasons for this. The first is the cinematography of Claudio Miranda.
  6. Greta
    If you lack a taste for such hokum, Greta is still worth seeing, for the sake of Isabelle Huppert: an A-grade performer, by any standard, as shown in the rigors of “The Piano Teacher” (2001) and the vengeful perversity of “Elle” (2016).
  7. Draft Day
    This literal-minded movie sells old pieties and washes away fear so thoroughly that it creates a new kind of fantasy, in which all's right with a very troubled world. [21 April 2014, p.110]
    • The New Yorker
      • Posted Apr 16, 2014
  8. Michael Moore in TrumpLand
    Within the carnivalesque atmosphere and high-spirited revelry of Moore’s show, there’s a master of political rhetoric at work, and he devotes that mastery to a high patriotic calling. At its best, Michael Moore in TrumpLand is a moving act of devotion, a motivating turn of rhetoric of potentially historic import.
  9. Cocaine Bear
    Cocaine Bear has a peculiar jostling quality, as the various characters shuffle onto center stage and then get elbowed aside to make way for the next contender.
  10. For Your Eyes Only
    The 12th James Bond film goes through the motions, but not only are we tired of them, the actors are tired of them - even the machines are tired...The producers have made the mistake of deciding on a simpler, more realistic package, without dazzling sets or a big, mad super villain.
    • The New Yorker
  11. The Magnificent Seven
    Traces of real history are hard to spot in Fuqua’s Western, but there isn’t much evidence of a real Western, either. You sense that an entire genre, far from being revitalized, is being plundered for handy tips.
  12. The Little Things
    It’s fun to see Washington square off against a brace of performers who could not resemble him less in bearing and tone.
    • 54 Metascore
    • 50 Critic Score
    Mrs. Doubtfire
    But the picture as a whole isn't in the class of "Tootsie" and "Some Like It Hot," mostly because its premise is sentimental, not cynical.
  14. The Little Drummer Girl
    The tragedy of these two peoples, killing each other because each has just claims to the same plot of ground, is presented with efficient, impersonal evenhandedness, so that we care about neither of them.
    • The New Yorker
  15. Suddenly, Last Summer
    They should never have allowed the audience so much time to think about what's going on: the short play turns into a ludicrous, lumbering horror movie.
    • The New Yorker
  16. Terminator: Dark Fate
    Despite the déjà vu, there is plenty to savor in Miller’s film, and the final third, in particular, is quite the light show.
  17. Copycat
    The plot would seem more ingenious if the movie itself didn't copy so many other thrillers (notably "The Silence of the Lambs"), and if it weren't so easy to spot every twist half an hour in advance.
  18. The Dream Team
    As a wisecracking , intermittently violent lunatic, Michael Keaton electrifies this quirky farce. The film isn't the knockout it might have been if it had a few big wild routines. And yes, it's sentimental. But the sentimentality isn't overplayed, and Keaton's fast rap cauterizes much of it.
    • The New Yorker
  19. The Empire
    Dumont doesn’t stint on the Lucas-like dialectics, and he works wonders with wryly blunt yet nonetheless spectacular effects-driven action scenes. But, most exquisitely, he delights in visions of earthly, natural majesty.
  20. Empire of Light
    The trouble with Mendes’s film is in the effort to combine the pieces in a way that feels natural, in an artifice that’s devised to be nearly invisible. It’s a synthetic that presents itself as organic. In the process, the film smothers its authentic parts, never lets its drama take root and grow, never lets its characters come to life.
  21. The Dead Don't Die
    The killings pile up, yet Jarmusch, the master of mellowdrama, would rather die than be accused of overkill. His heart isn’t really in the blood and guts. The line between the laid-back and the listless, in The Dead Don’t Die, may be too fine even for him, and most of the running gags don’t run at all, merely loping around in a circle.
  22. Sinister
    Throughout Sinister, the rooms remain darker than crypts, whether at breakfast or dinnertime, and the sound design causes everything in the house to moan and groan in consort with the hero's worrisome quest. I still can't decide what creaks the most: the floors, the doors, the walls, the dialogue, the acting, or the fatal boughs outside.
  23. Pat Garrett & Billy the Kid
    Probably nobody involved was very happy about the results; Dylan doesn't come off at all.
    • The New Yorker
  24. It Ends with Us
    It’s as if a filmmaker’s quest for dramatic universality has deprived his characters of their particulars, has pulled them out of time and space and rendered them all too abstract. What remains is a mechanism of thrilling power that’s missing a touch of mere humanity.
  25. Mary, Queen of Scots
    There's no motivating idea visible in this version, produced abroad by Hal B. Wallis, and the leaden script, by John Hale, lacks romantic spirit and dramatic sense.
    • The New Yorker
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