The New Yorker's Scores

  • Movies
  • TV
For 2,041 reviews, this publication has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% 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: 65
Highest review score: 100 The Social Network
Lowest review score: 0 Bio-Dome
Score distribution:
2041 movie reviews
  1. It is a fiercely composed, historically informed, and richly textured film, as insightful regarding the particularities of the protagonist as it is on the artistic life — and on the life of its times.
  2. The movie is constructed entirely of a remarkable array of archival footage, including Beckermann’s recordings, that spotlights unresolved national traumas and unabated anti-Semitism.
  3. I prefer Wildlife when it gets messier, as Mulligan casts aside her natural sweetness to bring us a soured soul, driven only by the courage of her confusion. So rank is the unhappiness that you can almost smell the bitter smoke of the fires, drifting from far away.
  4. The Halloween of today is slick and sick, but little is left of that sleep-destroying dread. Still, not all is lost, because the Bogeyman, bless him, has not forgotten his manners. For old times’ sake, he gets to sit up straight.
  5. Skillful and compelling this film may be, but, if Neil Armstrong had been the sort of fellow who was likely to cry on the moon, he wouldn’t have been the first man chosen to go there. He would have been the last.
  6. The Old Man & the Gun is as much of a fantasy as “Butch Cassidy and the Sundance Kid.” Yet you buy into the geniality of Lowery’s movie, nourished as it is by the entire cast.
  7. The result is pure Saturday-night moviegoing: it gives you one hell of a wallop, then you wake up on Sunday morning without a scratch. (By contrast, the emotional nakedness of the Judy Garland version, poised within formal compositions, can still reduce me to rubble.)
  8. Knightley and West leap without a qualm into these excesses, not least the Feydeau-like saga of a flame-haired Louisiana heiress (Eleanor Tomlinson), who sleeps with both Willy and his wife, unbeknownst to her, though he beknew everything.
  9. The film will neither change minds nor soothe embittered hearts, I fear, and an opportunity has been missed.
  10. The narrative staggers on, enlivened only by the hovering threat of kitsch and the musical dubbing. Moore, like an upmarket version of Lina Lamont, in “Singin’ in the Rain,” lip-synchs convincingly to the sound of Renée Fleming. But not quite convincingly enough.
  11. There's another reason for the lure of The Sisters Brothers. If the lives that it portrays are in transit, the world that encircles them is in even faster flux.
  12. Southside with You, running a brisk hour and twenty minutes, is a fully realized, intricately imagined, warmhearted, sharp-witted, and perceptive drama, one that sticks close to its protagonists while resonating quietly but grandly with the sweep of a historical epic.
  13. With microcosms of microcosms and reflections of reflections, Greene offers a passionately ambitious, patiently empathetic mapping of modern times.
  14. It’s worth seeing precisely for the heat of the arguments that you can enjoy after the screening and, above all, for Emma Thompson.
  15. Nyoni’s frank, confrontational style is both derisive and empathetic; she extracts powerful symbolic images from the oppressive environment.
  16. For regular moviegoers, The Apparition will seem most remarkable for what it is not. So accustomed are we to yarns of demonic possession that the beatific equivalent comes as quite a shock.
  17. What Hawke has provided here, with plenty of grace and a minimum of fuss, is an elegy for a life that went missing, more smolder than blaze, and a chance to hear the songs of the unsung.
  18. The shaded black-and-white cinematography and the dialectical romances mimic the styles and moods of nineteen-seventies French classics without their intimacy, rage, or historical scope.
  19. Despite clichéd depictions of Nazi atrocities, the movie persuasively evokes, with its wealth of details, the slender threads on which historical events—and historical truth—depend.
  20. What lingers, when this movie is done, are not the regular rallies, during which we survey the whole court, but those moments when we focus on McEnroe alone — on the dancing shuffle of his feet as he bobs and races for a return. Swap the sneakers for tap shoes and the dusty clay for a mirrored floor, and we could be watching Fred without Ginger, lost in the delirium of his art.
  21. It’s more than the portrait of an artist (or even of two); it’s a revelation and exaltation of the artistic essence, of the very nature of an artist’s life as an unending act of creation in itself.
  22. This takeoff on the children's-book series refreshingly balances sweet and bitter tones; Pooh's innocence irritates Christopher before it redeems him, and Madeline undertakes a bold adventure to gain her father's attention.
  23. Minding the Gap is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.
  24. The vigorous cast enlivens the conventional action, and brilliant comedic sallies by Awkwafina, as Rachel’s college friend, and Nico Santos, as Nick’s cousin, knock it for a loop.
  25. Lee would contend, I guess, that the sober approach will no longer suffice — that the age we inhabit is too drunk on its own craziness. He has a point.
  26. Decker pushes the action to the breaking point of fury, which the cast—and especially Howard, in one of the most accomplished teen performances ever—embodies with a flaying and self-scourging vulnerability.
  27. The director, Desiree Akhavan, who wrote the script with Cecilia Frugiuele (adapting a novel by Emily M. Danforth), expresses and elicits apt outrage, but the action is schematic and the characters are thinly sketched.
  28. In truth, there is barely enough story here to make a film. Yet the play of emotions on Macdonald’s face tells of worries and wounds much deeper than anything that can be accounted for in the script, and it will take more than a jigsaw, I reckon, even a thousand-piece whopper, to free this woman’s soul.
  29. To be fair, you can scoff at the antics and still be swept away. The final quarter of Mission: Impossible—Fallout takes place in Kashmir, with a helicopter chase through deep gullies and past snowy peaks. McQuarrie keeps the action crisp and clear, to match the icy air.
  30. Gavagai is an extraordinary and memorable film; its strong and clear emotional refinement arises from a rare force of imagination, a rare power of observation, a rare cinematic sense to fuse them, and a rare skill to realize them together.

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