The New Yorker's Scores

  • Movies
  • TV
Select another publication »
For 3,480 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 1.1 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: 1,939 out of 3480
  2. Mixed: 1,343 out of 3480
  3. Negative: 198 out of 3480
3480 movie reviews
view
per page
  1. Roadrunner: A Film About Anthony Bourdain
    The documentary is a mere encyclopedia-like info-product, which reduces its rich audiovisual archival material and its heartfelt interviews with people who knew and loved Bourdain to freeze-dried sound and image bites. It hardly deserves the attention it’s received—and Neville’s audio stunt, far from marring the film, merely serves as a brazen form of self-promotional publicity.
  2. Pig
    The film is redeemed only by the dour, weary, mournful, stubborn, and wise performance of Nicolas Cage, which is not so much a star turn as the project’s sole raison d’être.
  3. No Ordinary Man
    No Ordinary Man challenges the very basis of cultural production, eschewing the familiar accumulation of biographical and historical information and instead questioning the process by which such information is gathered.
  4. Settlers
    Tense and firm at either end, it sags in the middle like a mattress. Also, the grownups are pretty dull and flat, their mood set to maximum glower; luckily, we have Remmy—played first by Brooklynn Prince and later, as a teen-ager, by Nell Tiger Free—to steer us through the doldrums and to energize the plot.
  5. Casanova, Last Love
    In his new film, Casanova, Last Love... Jacquot, who is seventy-four, stands his artistic practice on its head in order to consider it retrospectively. It’s a classic “late film,” one that, with the contemplative distance of experience, approaches his deepest concerns with apparent simplicity.
  6. The Woman Who Ran
    Even great and prolific directors have high points, and this film is one of Hong’s best; its form relies on disturbing ironies to approach one of the mightiest of subjects—the nature of happiness and, in particular, a happy marriage, from the perspective of a married woman.
  7. No Sudden Move
    It’s a miniseries’ worth of action that’s crammed into the procrustean bounds of a near-two-hour feature, without the compensating dimensions of symbol and implication.
  8. Zola
    The movie exemplifies the power of the cinema—even the popular and commercial and invigoratingly swingy cinema—to reflect the inner life through imaginative methods that, at the same time, reveal the fractures and complexities of public life with probing and passionate insight.
  9. F9: The Fast Saga
    The acting is of a soaring ineptitude; the deeper Diesel emotes, the more he resembles a man who dabbed too much wasabi on his tuna roll.
  10. Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    Summer of Soul is one of those rare films from which you emerge saying, “My favorite part was that bit. No, that bit. Wait, how about that bit?”
  11. The American Sector
    The American Sector is an exemplary work of cinema as political action, and proof (if any were needed) that the activist element of a film is inseparable from its well-conceived form.
  12. The Amusement Park
    The film’s view of a mind thrown back on itself, and the profound vulnerability, mental derangement, and physical degradation that result, is, true to form, a political horror.
  13. Undine
    This is classic Petzold territory, where you can dwell in a place, or a relationship, without ever quite belonging there.
  14. In the Heights
    To dramatize such binding ideals, for almost two and a half hours, and to conjure precipitous revels from next to nothing, as Miranda and Chu have done, is no small feat.
  15. Tove
    Whereas Cruella sent me back to Dodie Smith, as a blessed escape from what Disney has done to her creations, Tove dispatched me down a rabbit hole, or through a Moomin door. I recommend the trip.
  16. Cruella
    Emotions are not toyed with glancingly but stretched out and blazoned forth, and the result is that the new film is nearly an hour longer than the original cartoon.
  17. A Quiet Place Part II
    A Quiet Place Part II is filled with striking, clever details; it displays no sense whatsoever of the big picture. That failure is the difference between directing and just making a movie.
  18. The Woman in the Window
    Its script is junk—but junk brought to the screen with verve.
  19. There Is No Evil
    The movie is also sparing with metaphors and symbols—though the few that Rasoulof builds into the texture of the drama, such as a view of Javad’s wet military uniform hanging from a tree and an image of a fox prowling around a farm, are piercingly effective.
  20. The Dry
    The plot of The Dry, it has to be said, is not a model of elegance and plausibility. I sniffed out the villain, who barely merits the description, a fair way off, and the dénouement, though it involves the threat of fire-starting, is the dampest of squibs. Yet the film has serious staying power.
  21. The Disciple
    In its depiction of Guruji’s mastery, The Disciple conjures the wonders and the mysteries of a life that is itself a work of art.
  22. About Endlessness
    You could argue that a little of this goes a long way, but that’s the point. An Andersson movie is a gallery of littles, each of them going a very long way.
  23. Paris Calligrammes
    Her rhapsodic tribute to the teeming artistic apprenticeship that Paris soon offered her isn’t solely a vision of beauty: she also observed, and unsparingly recalls, the political and social ugliness with which she was confronted during her time there.
  24. Monday
    Eventually, despite a number of Dionysian interludes, not least a drug-driven scooter ride with neither helmets nor clothes, this on-off emotional rhythm grows demoralizing, and the movie becomes a less than appealing blend of rave and rut.
  25. Voyagers
    Most of Burger’s film, in truth, is either numb or dumb.
  26. Godzilla vs. Kong
    One mark of the Godzilla franchise is the ingenuity with which each director manages to waste the talents of an excellent cast.
  27. Nobody
    As in life, intelligence in movies isn’t one-dimensional; it may be woefully lacking from one aspect of a film but shiningly present in another. Although the fight scenes in Nobody offer clever touches, they are nonetheless too stiffly convention-bound to give the movie energy.
  28. Zack Snyder's Justice League
    It is a grind, it is a slog, it is a bore—it’s a mental toothache of a movie, whose ending grants not so much resolution as relief.
  29. Wojnarowicz
    The director Chris McKim incisively intertwines a generous batch of audio interviews with Wojnarowicz’s friends, family, and associates; a rich set of archival footage to conjure his time and place; and vigorous effects to evoke his inner world.
  30. The Courier
    Yet the movie, less stirring than it ought to be, is peculiarly cramped, lacking the emotional latitude of Bridge of Spies. Spielberg dramatized a clash of moral principles, under the cover story of a thriller, but The Courier is all that it appears to be and not much more.
Page:

Top Trailers

See all »
See all trailers »