The New Yorker's Scores

  • Movies
  • TV
For 2,380 reviews, this publication has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Black Hawk Down
Lowest review score: 0 The Da Vinci Code
Score distribution:
2380 movie reviews
  1. The immensely empathetic view of Franz is overwhelmed by vague spirituality and vaguer politics; the impressionistic methods dispel the story’s powerful and noble specificity.
  2. While displaying the erratic workings of the law and the crucial importance of journalism, the movie’s legal focus narrows its imaginative scope; the drama, though infuriating and moving, sticks to its characters’ surfaces.
  3. The movie’s energies drop perceptibly in the middle section; lines of dialogue are recited at a sluggish rate, with lengthy pauses, as if the pressure of the presiding theme had numbed the characters’ tongues.
  4. Victor Hugo would watch this film and weep.
  5. The movie’s outward gaze is radical, no question, yet it refuses to scorn the comforts — of ingrained habits, and of home — that are honored by the conservative imagination. Such equipoise is almost as rare in cinema as it is, God knows, in politics, and right now, though we can’t foretell whether time will be cruel or kind to Gerwig’s Little Women, it may just be the best film yet made by an American woman.
  6. Uncut Gems jitters and skitters and lurches and hurtles with Howard’s desperate energy. Sandler’s frantic and fidgety performance provides the movie with its emotional backbone, and he’s not alone.
  7. Invisible Life is a heady blend of the casual, the sorrowful, the near-mythical, and the carnally explicit — never more so, be warned, than on Eurídice’s wedding night.
  8. As often occurs with topical tales, which are hellbent on catching a widespread mood (in this instance, anger and disgust), there’s something hasty and undigested about Bombshell....the action is relentlessly sliced and diced. Why, we could almost be watching TV!
  9. To judge by the fashions, In Fabric is set in the nineteen-seventies. And, to judge by its visual and aural manners, it might as well have been made then, so reverent is Strickland’s thirst for the period, with its soft-core-porno tropes and its throbbing horror flicks. If anything, this antiquated air makes the film a little too arch and over-concocted for its own good.
  10. 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.
  11. 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.
  12. Here’s the paradox: the closer The Aeronauts gets to peak silliness, the more beautiful it becomes.
  13. Sumptuous and diverting.
  14. The director Todd Haynes’s artistry is hardly detectable in this environmental thriller, yet the film, based on a true story, nonetheless offers a stirring and infuriating story of brazen corporate indifference to employees, neighbors, and the world at large—and the obstacles faced by those who challenge it.
  15. The Report has purpose and grip, as does any film that carries the stamp of Adam Driver.
  16. Still, however obvious the emotional setup, Heller, Hanks, and Rhys manage, Lord knows how, to skirt the pitfalls of mush, and to forge something unexpectedly strong.
  17. Coppola can’t avoid a dash of mythology when filming brutal killings, but he also looks grimly at the Mob’s role in popular artistry—and in enforcing racial barriers.
  18. Diop films the characters and the city with a tactile intimacy and a teeming energy that are heightened by the soundtrack’s polyphony of voices and music; she dramatizes the personal experience of public matters—religious tradition, women’s autonomy, migration, corruption—with documentary-based fervor, rhapsodic yearning, and bold affirmation.
  19. Luckily, Ferguson is fabulous in the role. She and Curran take possession of the tale and save it with sprightliness; their smiles arise without warning. I only wish that Rose had been around when Jack Torrance was on the rampage. What a lovely couple they’d have made.
  20. Bale is a cussed and calculating actor, yet he’s never been more likable than he is here — an irony to relish, since the character he plays makes so little effort to be liked.
  21. The intensity and the lyrical fervor of Kasi Lemmons’s direction lend this historical drama, about Harriet Tubman’s escape from slavery and her work with the Underground Railroad, the exalted energy of secular scripture.
  22. That blend of tones, with near-farce and emotional brutality blitzed together, is pure Baumbach, and he dishes it up for two hours straight.
  23. Despite the déjà vu, there is plenty to savor in Miller’s film, and the final third, in particular, is quite the light show.
  24. American Dharma succeeds neither as journalism nor as portraiture, neither as political critique nor as cultural survey nor as psychological study.
  25. If I had to define The Irishman, I would say that it’s basically “Wild Strawberries” with handguns. Like Bergman’s film, from 1957, this one is structured around a road trip.
  26. Lapid’s sense of form is more modest than his impulses; his direction falls short of Mercier’s clenched intensity and unhinged energy.
  27. It’s no surprise that the film should so often stumble and trip, yet I would sooner watch it again and sort through my mixed feelings about it than revisit, say, the nullity of “Joker.” There is genuine zest in the unease of Jojo Rabbit, and it’s weirdly convincing as a portrait of childhood under surreal strain.
  28. Dafoe and Pattinson have the stage pretty much to themselves, and the result is a beguiling crunch of styles.
  29. Gemini Man is largely a sad affair. Fans of double characters should stick with Austin Powers, who, in “The Spy Who Shagged Me” (1999), enjoys the rare privilege of meeting the person he was ten minutes ago. “You,” he says, “are adorable.”
  30. Bong, in short, is a merchant of stealth. There is no more frenzy in the editing of Parasite than there are shudders in the motion of the camera, and, as with Hitchcock, such feline prowling toys with us and claws us into complicity with deeds that we might otherwise fear or scorn.

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