The New Yorker's Scores

  • Movies
  • TV
For 2,619 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: 65
Highest review score: 100 The Social Network
Lowest review score: 0 Bio-Dome
Score distribution:
2619 movie reviews
  1. The movie’s movingly confessional, even penitent look at private and public abuses of power is a glance askance at Hollywood mythologies, too.
  2. There is more to ponder, in this uncommon movie, than there is to plumb. Broad rather than deep, and layering the vintage with the modern, it’s a collage of shifting surfaces — an appropriate form for a pilgrim soul like Martin, whose gifts, though plentiful, do not include a talent for staying still.
  3. Do not be fooled by the sci-fi trimmings of this film. Despite its light and amiable manner, it’s a sort of “Deliverance” for the digital age, deriding the ability of tame souls, at a supposedly advanced stage of civilization, to cope with the unknown.
  4. The result is that what should be most uplifting, in The Glorias, is most at risk of clunkiness.
  5. In The Broken Hearts Gallery—Krinsky’s first feature—Viswanathan’s performance lends the movie its sole impression of vitality and spontaneity, to go with its one bright light of conceptual inspiration.
  6. What’s unusual about Kajillionaire, and what makes it July’s most absorbing film to date, is that you can feel her testing and challenging her own aptitude for whimsy.
  7. If only the style of The Artist’s Wife could scald with equal intent. Alas, it opts for plangency, with a musical score applied like a gentle balm, and a plot that hungers for healing—absurdly so, given the incurable nature of Richard’s plight.
  8. Doucouré pays keen attention to Amy’s quest for a self-made identity—and to a sexualized, commercialized mainstream culture that deludes children, especially those raised in cultural isolation. The film’s ultimate subject is the ghetto itself; a remarkable symbolic ending redefines French identity.
  9. Gerima films Jay’s intimate confrontations with an impressionistic flair that focusses attention on characters’ listening, thinking, and remembering; flashbacks and dream sequences infuse Jay’s tightening conflicts with the pressure of history—both social and intimate.
  10. Kaufman seeks admiration for his warmhearted and gentle humanism and also for his extravagant creativity, even when the latter gets in the way of the former—when his cleverness stands like a child’s antics in front of the screen where the movie is playing, defying viewers to pay attention to what’s going on behind him while amiably indulging or ignoring his trickery.
  11. To a remarkable extent, the new movie is full of cheer. It feels boisterous, bustling, and, at times, perilously close to a romp.
  12. Zlotowski crafts a distinctive style to distill and heighten the drama’s psychological complexities and societal analyses. No less than its young protagonists, the film dangerously brushes against the edge of modernity’s enticingly destructive glitz.
  13. Red Penguins, is here to serve your bedlam-loving needs. Communism, capitalism, corruption: the gang’s all here.
  14. Boys State will leave you alternately cheered and alarmed at the shape of things to come.
  15. For an instant, I heard the rumble of the coming Revolution, and wondered how Sciamma would conclude her engrossing movie. In violent devastation, perhaps? Well, yes, but the violence is that of a storm-tossed heart, and the final shot is of a woman — I won’t reveal who — shaken by ungovernable sobs, with smiles breaking through like shafts of sunlight. Reckon you can weather all that without falling apart? Good luck.
  16. Seimetz films this coldly ghoulish and derisive fable with quiet intensity and rage at the way of the world.
  17. It’s a hell of a performance by Robyn Nevin, who’s had a long and commanding career on the Australian stage.
  18. What does make this movie stand out is the presence of Cristin Milioti, a paragon of goofiness and grace.
  19. Despite the merely functional reticence of Glowicki’s direction, along with the narrow scope of the drama, Tito is an instant classic of acting.
  20. In short, Lee’s new movie — like the great “BlacKkKlansman” (2018) — is a history lesson wrapped in an adventure, the caveat being that history is never done with us, and that we struggle to shrug it off our backs.
  21. By the end, in truth, I found myself swamped by Scott, and wondered if he might have made more impact as a secondary character — maybe as a foil to his widowed mother, Margie, who is played to perfection by Marisa Tomei.
  22. The extraordinarily imaginative new feature by Christopher Munch, The 11th Green, stakes out a genre unto itself: poli-sci-fi, a fusion of science fiction and the history-rooted political thriller.
  23. Despite these shortfalls, there’s much to relish here. To play a guy like Hank, who must resign himself to being second or fourth fiddle, is a tricky task, but Hawke pulls it off in the quiet style that he has made his own.
  24. An existential thriller--the most original and shocking French melodrama of the 50s.
    • The New Yorker
  25. As for Ferrell, a noted Eurovision nut, there’s no mistaking his affection for the brave hogwash of the genre, but even he is felled by the movie’s swerve into P.R.: a sing-along, say, in which genuine victors from Eurovisions past team up in a rolling medley.
  26. To be fair, Irresistible picks up in the final quarter, with the aid of a clever twist that whistles in from nowhere. We get an assortment of different endings, each undercutting the last. It’s as if this dozy film has woken up, belatedly, to its comic responsibilities and opportunities.
  27. It’s a revealing view of an industry of enormous personalities—and the indulgences that feed them.
  28. The story can’t keep still, shifting from year to year and place to place, and, whereas "Mr. Jones" appalls you into wanting to know more, Wasp Network is so temperate in its political approach that you start to forget what’s at stake.
  29. Is it conceivable that Holland’s bleak, murky, and instructive film could prompt a change of heart in the current Russian establishment, or even a confession of crimes past? Not a chance.
  30. Hong’s deft artistry is an attempt to get past the habits of issue-oriented, advocacy-besotted political cinema to work out just what a political cinema would be. And his answer is: first of all, it’s cinema. In this regard, he connects with Mankiewicz, Resnais, and other great filmmakers for whom politics is an important, interwoven part of life—and of art.

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