New York Magazine (Vulture)'s Scores

For 1,656 reviews, this publication has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Queen
Lowest review score: 0 Arthur
Score distribution:
1,656 movie reviews
  1. The lifelong friends in Fred Schepisi's marvelous Last Orders actually seem like lifelong friends.
  2. Wiseman lets the material breathe in a manner unique to the subject.
  3. It's a truly prodigious piece of work, resembling a career summation far more than a maiden voyage.
  4. It would be a mistake to regard American Splendor as an anthem for the common man. It is the UNCOMMON that is being celebrated here.
  5. A comedy in the best sense--it draws its life from the pitch-perfect authenticity of its characters.
  6. A mesmerizing documentary.
  7. Polanski’s strongest and most personally felt movie.
  8. Moodysson captures exactly the preening narcissism and gumption of these frazzled would-be revolutionaries trying to wriggle out of their bourgeois straitjackets.
  9. Linklater must have recognized a kindred spirit when he read Belber's play. He's given us a reality-fantasy game, a psychodrama, a harangue, and a detective story all rolled into one.
  10. The funniest and most emotionally charged erotic road movie since Bertrand Blier's "Going Places."
  11. The Pinochet Case is a searing album of remembrance from those who, having survived, suffered most.
  12. A movie that really zips along; it offers some of the same pleasures as the silent slapstick comedies, particularly the Keaton films, with their sense of how sheer velocity carries its own wit.
  13. A flashy, nasty triumph
  14. Sophisticated and nuanced, and every character is bursting with emotional contradictions.
    • 81 Metascore
    • 90 Critic Score
    A brilliant, disturbing, but unstable and half-crazy piece of work.
  15. Belzberg doesn't intervene during the moments of violence, believing that the film can force social change only by showing the worst. If she is correct, then this film should move mountains.
  16. At its best, the film compares favorably to its obvious antecedents, "Rififi" (which Melville once hoped to direct) and "The Asphalt Jungle."
  17. What it's really about is the euphoria that talent can bring to those who are possessed by it. That euphoria lights up the screen.
  18. Beautifully directed by Phillip Noyce, the film -- is a full experience, a love story and a murder mystery that expands into a meditation on the deep deceptions of innocence.
  19. The script, instead of being what we tolerate in order to savor the visuals, is a delight all by itself.
  20. A first-rate zombie movie. The best tribute I can offer is that it makes you want to go out directly afterward and down some expensive single-malt scotch.
  21. Spellbindingly original -- Like the wild orchid, Adaptation is a marvel of adaptation, entwined with its hothouse environment and yet stunningly unique.
  22. Achingly funny movie...Guest has cultivated a stock company of players whose work together is so intuitively sharp that it seems to redefine the boundaries of acting.
    • 50 Metascore
    • 90 Critic Score
    Andrew Davis, the director of "The Fugitive," one of the best thrillers of recent years, has added pace and heat and explicit sexuality to the material without whipping up phony excitement.
  23. Coppola both wrote and directed, and there’s a pleasing shapelessness to her scenes. She accomplishes the difficult feat of showing people being bored out of their skulls in such a way that we are never bored watching them.
  24. Linklater, whose previous movies include "Slacker," "Before Sunrise," and "Waking Life," may be the most versatile director of his generation. School of Rock is his most unabashedly mainstream movie by far, and yet it’s commercial in the best way.
  25. The jamboree is beautifully shot and directed, by Chris Menges and David Leland respectively, and there is a haunting touch: the presence of George’s son, Dhani, on guitar, looking near-identical to his dad in his twenties.
  26. Sean Penn is so frighteningly good in this movie that he outdoes even the best of his earlier work.
  27. It’s a magical little movie about a most unmagical subject.
  28. Tsunashima gives a deft performance in a role that starts out as caricature but becomes full-bodied. Collette commands the screen virtually the entire time.

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