New York Magazine (Vulture)'s Scores

For 2,275 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Bloody Sunday
Lowest review score: 0 The Human Centipede (First Sequence)
Score distribution:
2275 movie reviews
  1. Gabe Polsky's ingenious, touching documentary Red Army looks at the other side of this myth, the seemingly faceless, allegedly robotic players who made up the Soviet team. There, Polsky finds a story even more epic and powerful than the Miracle on Ice.
  2. Don’t expect incendiary topicality from The Golden Dream; this is more poetry than politics.
  3. The film is saying that, left to their own devices, all men would devolve into a morass of monastic grouches. Kitchen Stories is a prime piece of comic anthropology.
  4. It’s a drama, and it smartly uses its little moments of humiliation to open our eyes to a world of delicate, but deep, injustice.
  5. I was utterly gripped by The Italian. The only problem is that I was rooting for the bad guys.
  6. Brooklyn doesn’t quite capture Brooklyn, but its ambivalence about being Irish is gloriously epic.
  7. Has a poignant undertone: We may feel we already know in our bones just how suffocating this culture is; but the people who made this movie seem to be discovering each fresh horror for the first time. It's like watching a virgin sacrifice.
  8. It's a frisky, funny roundelay starring Stefania Sandrelli, and it features enough shouting and arm-waving to power a windmill.
  9. Queen of Earth is a psychodrama shot like a horror movie — "Persona" meets "The Shining." Right down to the haunting, minimalist score (by Keegan DeWitt) that’s perched dangerously, wonderfully between spooky and lyrical.
  10. Apocalypto turns into the best "Rambo" movie ever made. The worrisome part is that Gibson doesn't think he's making a boneheaded action picture. For him, torture and vengeance are the way of the world. This is Gibsonian metaphysics.
  11. A sense of unease, of incompleteness, is, I think, the appropriate response to this movie. Instead of trying to fill in the blanks, Curran and Gross leave things open and ambiguous. Just like life.
  12. Scattershot but rousing documentary.
  13. A part with this much sobbing, hand-wringing, and mournful gazing into the middle distance could be, in the wrong hands, a laugh riot, but Lawrence’s instincts are so smart that she never goes even a shade overboard. She’s a hell of an actress.
  14. Graduation, like Mungiu’s lauded "4 Months, 3 Weeks and 2 Days," layers misfortunes and mistakes on top of one another in a way that feels both oppressive and true.
  15. This Bond is haunted, not yet housebroken, still figuring out the persona. In Casino Royale, the reset button has been pressed in the manner of "Batman Begins."
  16. As the political rhetoric between Washington and Tehran becomes dangerously overheated, Offside offers an intimate antidote: an affectionate glimpse into the cultural schisms that young Tehranis face every day. Western audiences will cheer the rebellious girls on.
  17. Ought to have been an eye-roller. What a surprise that it's so seductive. The Woodman lives!
  18. For all the limitations of its setting and palette, this is a gorgeous, visually exciting movie.
  19. For my money, Flags (however clunky) cuts more deeply, but Letters is more difficult to shake off. Together, they leave you with the feeling that even a just and necessary war is an abomination.
  20. Lock, Stock and Two Smoking Barrels is in the scabrous mode, and I like it better than "Trainspotting" -- it doesn't pretend its shenanigans are revolutionary.
  21. If Penn really lets these actors sing, his watchful camera also knows how to respect their silences.
  22. It's Lawrence who knocked me sideways. I loved her in "Winter's Bone" and "The Hunger Games" but she's very young - I didn't think she had this kind of deep-toned, layered weirdness in her.
  23. The final twist is both baffling and repulsive, but as an evocation of the triumph of evil, it's peerless.
  24. Although Paltrow is radiant (and she nails the character’s ditzy sense of entitlement), it's Phoenix's movie. He is, once again, stupendous, and stupendous in a way he has never been before.
  25. Each film in Nicolas Winding Refn's mesmerizingly brutal Pusher trilogy can stand on its own, but it's fun to see all three and observe the way the bad guys in one become the sympathetic heroes (or anti-heroes) in another.
  26. It’s a bracing antidote to the usual “Beautiful Mind”–style Hollywoodization of mental illness.
    • 70 Metascore
    • 80 Critic Score
    An expertly woven narrative, as nail-bitingly effective as any good Hollywood thriller.
  27. Goodnight Mommy is a very disquieting, very suspenseful film, but proceed with caution.
  28. Sylvie Testud gives such a ferociously controlled performance that the messy murder seems like a necessary release.
    • 83 Metascore
    • 80 Critic Score
    The best movie ever made about a man of God -- which is to say, the most honest and morally the most ambiguous.
  29. Delightful, insightful documentary.
  30. The movie is brilliant and infectious, much like Bennett's voice: English-deadpan but never snide, and generous to a fault.
  31. A marvelous literary thriller that gets at the way books can stay with people forever.
  32. Even with all its elisions and distortions it tells a cracking good story. Turing is played with captivating strangeness by Benedict Cumberbatch.
  33. Téchiné gets deep inside the dread and exhilaration of people who have lost their bearings so suddenly they don't even have the luxury of grief.
  34. The film is a deeply felt and beautifully acted hagiography.
  35. Director Bill Pohlad (working with frequent Wes Anderson cinematographer Robert Yeoman) is extraordinarily sensitive to the amorphous nature of Wilson’s life and art, and Atticus Ross’s score creates a floating, evocative soundscape, which is Brian Wilson–esque without a trace of plagiarism.
  36. The real passion here is the almost erotic thrill that acting still holds for Moreau.
  37. If time-travel is your thing, you learn to shrug off inconsistencies. You debate chicken-egg questions over drinks or dope and mull over all the permutations. You graph it. You wish like hell you had a time machine. You savor every discombobulating, ludicrous, thrilling second of Predestination.
  38. HPATDH 2 works like a charm. A funereal charm, to be sure, but then, there's no time left for larks.
  39. The result is perhaps the most elegantly shot, and certainly the most disturbing, of the recent fantasy films.
  40. Based on a novel by Marco Franzoso, Hungry Hearts is a riveting, relentless film. It may also be an infuriating one, and not always in a good way.
  41. Refreshingly uncategorizable: It’s somewhere between a marital-discord drama and a mystery thriller, but it also has its madcap moments.
  42. That's the beauty of Mafioso: that what begins as a comedy of disconnection becomes a tragicomedy of connection -- of roots that go deep and branches that span continents.
  43. It's probably easier for an ex-prosecutor known for macho threats to say he got caught screwing than for him to say he got screwed. But folks, he was reamed.
  44. Gracefully directed by Robert Schwentke, the film has a perfect performance by Bana, rangy and haunted, never at home in his body.
  45. The movie is overcalculating and occasionally coarse, but it has a gentle spirit. We should count its existence as a blessing.
  46. The performances are amazing.
  47. The film is stunningly bleak and staggeringly violent. Major characters go down in showers of blood and gore. I’ve seen worse and so, probably, have you, but never from such an essentially wholesome corporate enterprise with a target audience so young and hopeful.
  48. Now, at last, comes a fun dystopian sci-fi epic — a splattery shambles with a fat dose of social satire and barely a lick of sense. It’s Bong Joon-ho’s Snowpiercer, which must be seen to be disbelieved.
  49. The real revelation here is Plaza, whose shtick - the willowy cutie deadpanning about how lousy her life is - should be grating and tired, but it works remarkably well for some reason.
  50. This time around, though, the Coens' usual arch deliberateness isn't quite as deliberate, and there's an appealing shagginess to some of the episodes and performances.... This is the Coen brothers' most emotionally felt movie, and that's not meant as faint praise.
  51. Morton is one of those tingly actresses whose skin barely covers her soul, and to watch her search for tender mercies in a crazy-hostile world is a gift. The film is appallingly good.
  52. Before you quite know what’s happening, you’re swerving into another sort of movie altogether. And then another. You might not buy them all, but what a great ride.
  53. That's the feeling Stephen Chbosky captures in The Perks of Being a Wallflower, his exquisite adaptation of his best-selling YA novel about a Pittsburgh high-school freshman who doesn't fit in and then all of a sudden does, for a spell.
  54. The Tribe is a harrowing, corrosive film, but there’s great, urgent beauty in it.
  55. Although Junge had consulted with a few historians and moviemakers over the years, she had never really unburdened herself, and this 90-minute documentary is a devastating act of personal confession.
  56. Blue Valentine leaves you with the shattering vision of its truest victim-the one who'll someday look for safety in places it might not be. And the psychodrama will go on and on …
  57. Watching Apocalypse, you don’t feel as if every character is being set up for his or her own spinoff. They complement one another. They need one another. The overflowing ensemble nature of the enterprise is the whole point.
  58. The Angels’ Share is a rare upbeat Ken Loach comedy — and a wee dram of bliss. Set in Scotland, it has a blessedly funny overture.
  59. The compact Hennie is a wonderful actor, smoothly congenial when confident, uproarious when rattled. And he will be rattled-as well as stabbed, shorn, bitten, mangled, and worse.
  60. I loved it, but you might not. Despite its often prostrating bleakness and an ending likely to inspire howls of outrage (Solondz’s world is not kind to children or pets), it might be the closest he’ll ever come to making an inspirational work.
  61. Has a mixture of bloodletting and exultation that would make Sam Peckinpah sit up in his grave and howl with pleasure.
  62. Grandma marks a new era in gay cinema — one’s that confident and mature enough to acknowledge regret.
  63. Office Space is so enjoyable that you wish it were even better...Once the scheme to bilk Initech is set in motion, the off-kilter humor flattens into a take-this-job-and-shove-it thing, and the ending seems pooped-out.
    • 86 Metascore
    • 80 Critic Score
    Infused with honesty and authenticity, Michael Showalter’s crowd-pleaser is an instantly winning heart-stealer and a superbly well-timed story of culture clash that resolves into a lovely tale of mutual understanding and acceptance.
  64. Another year, another Mike Leigh gem.
  65. Holy Motors is typically confounding but on every level that matters a work of unfettered - and liberating - imagination.
  66. Payne is too acerbic - maybe too much of an asshole - to settle for easy humanism. But he's too smart a dramatist to settle for easy derision. Mockery and empathy seesaw, the balance precarious - and thrillingly so. It's the noblest kind of satire: cruel and yet, in the end, lacking the killing blow.
  67. His palette here is deep-toned, with bottomless blacks and supersaturated oranges and blues--as if the Walt Disney of "Pinocchio" had collaborated with Goya.
  68. Jodorowsky’s fondness for the surreal and grotesque is in full evidence here. What makes his films so captivating, however, isn’t their strangeness, but their refusal to divide the world into good and bad, even when it’s easy to do so.
  69. By the end of the movie, the characters are numbed, while the audience is sensitized to the mayhem to an almost unbearable degree.
  70. Calculated to enrage and pulling it off like gangbusters, Don Argott’s documentary The Art of the Steal pits the legacy of the late Albert C. Barnes’s Barnes Foundation (which boasts arguably the world’s finest collection of French Impressionist and Post-Impressionist art) against the social-climbing, philistine, downright Nixonian machinations of Philadelphia’s wealthiest--who gamed the system and pried the collection loose in defiance of Barnes’s legal will.
  71. Belle does have a clear moral compass, but it refuses easy answers and withholds easy judgments. As such, it feels profoundly human.
  72. A cool summer thriller whose laughs don't slow down the suspense.
  73. A wrenching elegy to the "greatest generation"--a film with enough breadth and spectacle and poetry to transcend some clunky storytelling.
  74. Lynn Shelton's marvelous chamber comedy Humpday butts up against the same sort of taboos as "Brüno," and in its fumbling, semi-improvised way, it’s equally hilarious and even more subversive.
  75. Ida
    The movie’s chill is hard to shake off. It’s a grimly potent portrait of repression, of what happens to a society that buries its past in an unmarked grave — and lives its present in a state of corrosive denial.
  76. The results are soul-corrodingly funny.
  77. There isn’t a single false scare. There isn’t, come to think of it, a scare that doesn’t set up another scare.
  78. Lapid’s thrilling use of the camera, the way his unbalanced frame and his imaginative staging work with the precision of his story, results in something new and genuinely unnerving.
  79. The soundtrack is extraordinary. Songs from the Shangri-Las, Simon & Garfunkel, Leonard Cohen, Portishead, and many others drift in and out, sometimes taken up by Strayed as she heads into the scrubby landscape toward a mountain a long way away. The fragmentation is remarkably fluid. The pieces are all of a piece.
  80. I'd like to hear from some women about the sole scene I didn't buy--Bello getting angry, then super-turned-on when she learns about her calm Tom's tough-guy origins--but otherwise, A History of Violence is a remarkably convincing examination of heroism, hero worship, and the seductive allure of villainy.
  81. Away From Her is a twilight-of-life love story, one that harshly demolishes our romantic notions of love and loyalty, then replaces them with something deeper and, finally, more consoling.
  82. That lawn with its scraps of a ruined life is a setting both satirical and poignant, and Will Ferrell gives a performance of Chekhovian depth.
  83. The film is called Dear White People, but it might as well be called Dear Everybody. It’s hilarious, and just about everyone will wince with recognition at some point in the film.
  84. One way you know that D.J. Caruso is a resourceful director is that he scares you silly with a minimum of violence and a few smears of blood. His job was certainly made easier by Morse, whose glassy demeanor and high, soft rasp suggests horrors that not even Quentin Tarantino could imagine.
  85. If Nine Queens were a great film, instead of just a very good one, this rottenness would be so pervasive that it would burst the bounds of the plot; it would make us shudder.
  86. Chow is at his best when juggling disparate elements – tragedy, slapstick, romance, melancholy, fantasy. Everything is big with him; he seems incapable of underplaying anything. The crazier his movies, the better. And Journey to the West might be the craziest thing he’s done yet. You may wonder, afterwards, if you dreamt it all.
  87. Unsatisfying at a very high level. It fritters away more than most movies ever offer up.
  88. As Bolt, John Travolta is inspired: His voice still cracks like an adolescent’s, and he has the perfect dopey innocence.
  89. With Jimi: All Is By My Side, writer-director John Ridley tries to do for the rock biopic what Jimi Hendrix did for rock 'n' roll itself in the 1960s — explode it, redefine it, and help it find its best self.
  90. If all three of the women’s lives had come across with equal weight and artistry, the film, which glides back and forth among them, might have approached the symphonic. But only the Streep section truly inspires the kind of awe and terror that the film as a whole strives for.
  91. Get Out is a ludicrous paranoid fantasy, but that doesn’t mean it’s not alive in the unconscious. Having it out there in so delightful a form helps us laugh at it together — and maybe later, when we’ve thought it over, shudder.
  92. Liam Neeson has gravely splendid pipes as Ponyo’s father, a once-human wizard who lives underwater and despises humankind for polluting the planet.
  93. I’m not wholly clear on the link between a jellied green thing wriggling along a tree branch and the oneness of life, but Shinto Buddhist ruminations sound good in almost any context, and the film is entrancing.
  94. That's a knock on ­Bujalski -- that his characters exist in a vacuum, with few references to popular culture or politics or much of anything, really. Of course, one artist's vacuum is another's poetic distillation, and there's something about Mutual Appreciation (which is shot in an unassuming black and white) that spoke more directly to my inner slacker than any film since, well, "Funny Ha Ha."
  95. Rivette keeps the life-is-a-play metaphysics to a minimum, and the cast, including Jeanne Balibar and Sergio Castellitto, is attractive.
  96. I’ve never seen a movie that so cunningly exploits our anticipation.
  97. You gasp at the ecstatic convergence of lung power and spirit.

Top Trailers