The New Yorker's Scores

  • Movies
  • TV
Select another publication »
For 3,481 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 3481
  2. Mixed: 1,344 out of 3481
  3. Negative: 198 out of 3481
3481 movie reviews
view
per page
  1. Under the Skin
    Glazer is nothing if not ambitious; the rough edge of naturalism, on the streets, slices into the more controlled and stylized look of science fiction, and the result seems both to drift and to gather to a point of almost painful intensity.
  2. Joe
    Yet Joe, directed by David Gordon Green, succeeds. Although Green's resume has been as up and down as that of his leading man, his eye for decay has rarely blurred; and now, you sense, he has come to the right place. [14 April 2014, p.87]
    • The New Yorker
      • Posted Apr 12, 2014
  3. Only Lovers Left Alive
    Here is the territory that "Twilight" never dared to enter. It was so busy with crushes, covens, werewolves, and all the other moth-eaten trappings of the genre that it forgot to ask, Why do vampires not die of boredom? Is time not the sharpest stake in the heart? [14 April 2014, p.86]
    • The New Yorker
      • Posted Apr 12, 2014
  4. Dom Hemingway
    Jude Law, saying farewell once again to his youthful good looks (Dom has scars and a little too much weight), makes this hyper-articulate ruffian the most intricately soulful character in current movies. [7 April 2014, p.75]
    • The New Yorker
      • Posted Apr 9, 2014
  5. Noah
    Noah may not make much sense, but only an artist could have made it. [7 April 2014, p.74]
    • The New Yorker
      • Posted Apr 9, 2014
  6. The French Minister
    This is not life imitating art. This is art going to bed with life and staying there for the rest of the afternoon. [31 March 2014, p.81]
    • The New Yorker
      • Posted Mar 27, 2014
  7. Finding Vivian Maier
    Even as this fine documentary unveils the "mystery woman," as she once described herself, it remains intent on the molding of her myth. [31 March 2014, p.80]
    • The New Yorker
      • Posted Mar 27, 2014
  8. Nymphomaniac: Volume I
    Like most porn, even art porn, Nymphomaniac falls apart at the end. Von trier even seems to be pranking the audience. But the director has at last created a genuine scandal -- a provocation worth talking about. [24 March 2014, p.84]
    • The New Yorker
      • Posted Mar 24, 2014
  9. Enemy
    Enemy may crawl and infuriate, and, boy, does Villeneuve get rid of the grin. But the film sticks with you, like a dreadful dream or a spider in the bedclothes. Shake it off, and it's still there. [17 March 2014, p.78]
    • The New Yorker
      • Posted Mar 14, 2014
  10. Le Week-End
    The monologue that Goldblum delivers there, grand with illusion and larded with mouthfuls of canapes, is entirely delicious -- roguish and absurd, but lending the film a zest that it was in danger of losing. [17 March 2014, p.79]
    • The New Yorker
      • Posted Mar 14, 2014
  11. The Grand Budapest Hotel
    The Grand Budapest Hotel is no more than mildly funny. It produces murmuring titters rather than laughter -- the sound of viewers affirming their own acumen in so reliably getting the joke. [10 March 2014, p.78]
    • The New Yorker
      • Posted Mar 6, 2014
  12. The LEGO Movie
    As a rule, movies about toys need to be approached with extreme caution; some of them have been bad enough to count as health hazards. This one is the exception.
  13. The Last of the Unjust
    In short, The Last of the Unjust is every bit as quarrelsome as it should be. Murmelstein, recounting the circumstances in which he took mortally serious decisions, dares to ask us if we could have done any better.
  14. Ride Along
    Nothing in the movie makes sense, but I prefer to think that Ride Along is just a badly told joke, rather than an insult to its audience.
  15. Generation War
    While re-creating the vast swing of German forces in and out of Russia, Kadelbach tries to capture the inner turmoil of two men. Call it half a victory.
  16. Like Father, Like Son
    There are passages of gravity and grace here that few other directors could unfurl. [27 Jan. 2014, p. 78]
    • The New Yorker
      • Posted Jan 22, 2014
  17. Stranger by the Lake
    Stranger by the Lake, it must be said, flirts with monotony. There is something both fascinating and numbing in the rituals on display, and in the matching rhythm of the film's approach. [27 Jan.2014, p.79]
    • The New Yorker
      • Posted Jan 22, 2014
  18. Jack Ryan: Shadow Recruit
    Shadow Recruit is fun in a minor, winter-season way. If the producers stick with Chris Pine as he ages, they may end up with something worth caring about. [20 Jan.2014, p.78]
    • The New Yorker
      • Posted Jan 18, 2014
  19. Gloria
    At the end of the movie, when Gloria looks at herself appraisingly in a mirror, we seem to be seeing her for the first time. [20 Jan. 2014, p.79]
    • The New Yorker
      • Posted Jan 18, 2014
  20. The Selfish Giant
    From the beginning, you can feel this restive, pulsing movie burn from discontent toward disaster. The whole thing should sap the spirit, and make you despair of a lost and wasted country, yet you are constantly shocked awake by the energy of Arbor, whether it is spent on insolence, initiative, or grief. The boy’s a bright wire.
  21. Labor Day
    You can love the look of the movie and still not believe a single word of it. To be fair, the climax is surprisingly touching; somehow, the residents of this cooked-up tale manage to earn our pity and support.
  22. 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
  23. The Invisible Woman
    Fiennes and his team have mounted a handsome re-creation of Victorian England, but the Dickens-Ternan affair isn't much of a story -- at least, not as realized here. [6 Jan. 2014, p.73]
    • The New Yorker
      • Posted Jan 6, 2014
  24. August: Osage County
    As you watch, you don't think of the decline of American civilization; you think that these are good actors giving themselves a hell of a workout in a misbegotten movie. [6 Jan. 2014, p.72]
    • The New Yorker
      • Posted Jan 6, 2014
  25. The Past
    [Farhadi's] gift for pulling us deep into the story, and for conveying the major burdens of these supposedly minor lives, is unimpaired.
  26. The Wolf of Wall Street
    The Wolf of Wall Street is a fake. It’s meant to be an exposé of disgusting, immoral, corrupt, obscene behavior, but it’s made in such an exultant style that it becomes an example of disgusting, obscene filmmaking. It’s actually a little monotonous; spectacular, and energetic beyond belief, but monotonous in the way that all burlesques become monotonous after a while.
  27. Saving Mr. Banks
    The director is John Lee Hancock, who does what he did with “The Blind Side,” where he commandeered a true and jagged tale, tidied up the trauma, and made sure that everyone lived sappily ever after. Sandra Bullock carried the day then, and now Emma Thompson repeats the process.
  28. The Secret Life of Walter Mitty
    The result may be the oddest film of the season. It boasts an array of sublime backdrops and a yearning score, but the climate of feeling is anxious and inward, encapsulated in Stiller’s darting gaze, and the movie itself keeps glancing backward, at the lost and the obsolete.
  29. Her
    Sad, kooky, and daunting in equal measure, Her is the right film at the right time.
  30. American Hustle
    “Inside Llewyn Davis” and “Nebraska” are the current standards of what a serious Hollywood movie looks like. American Hustle offers so many easy pleasures that people may not think of it as a work of art, but it is. In the world that Russell has created, if you don’t come to play you’re not fully alive. An art devoted to appetite has as much right to screen immortality as the most austere formal invention.
Page:

Top Trailers

See all »
See all trailers »