New York Magazine (Vulture)'s Scores

For 2,231 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 The World's End
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
2231 movie reviews
  1. A scantily clad revenge memoir.
  2. It might seem as though there is nothing new to be done with the crime thriller, but The Code (La Mentale), directed by Manuel Boursinhac and written by Bibi Naceri, provides a new twist.
  3. The action-thriller The Accountant is laughable, but when you’re not laughing at it, you’re laughing with it. It’s enjoyable enough.
  4. A Joyful Noise overcomes. The big numbers are a gospel-pop-funk fusion that made me think, Hmmm, this seems very processed - before I noticed my feet were tapping of their own accord. How can you resist that wah-wah funk guitar?
  5. Secretary is deeply conventional: Edward and Lee accept their bondage as the way to a more fulfilling life. It's the filmmakers who need to be spanked.
  6. The key to a good B-mystery is that all the actors should be a little stilted. You should never know the difference between an actor acting badly and an actor doing a masterful acting job of someone acting badly. In Non-Stop, there is much excellent bad acting.
  7. It also helps that they've got actresses like Gabrielle Union and Taraji P. Henson doing the heavy lifting of trying to show real emotion while still keeping things light and on the comedy track.
  8. The movie goes soft. But it has the unpretentious energy and charm of a good YA girls' novel.
  9. Efron's stopped-clock seriousness is more convincing on a melancholy loverboy than it is on a melancholy soldier. We can't quite sense the harrowing torment of lives lost before his eyes, but we can sense the sweet anguish of being around the woman you adore. It'll have to do.
  10. At its best, 22 Jump Street is less an action comedy than a loosely plotted revue, and though it’s not as witty as either Joe Dante’s "Gremlins 2: The New Batch" or Edgar Wright’s "Hot Fuzz" (in which the directors evinced genuine love for their chosen genres), it’s sure as hell better than a straight buddy-cop sequel.
  11. Hanks and those scenes in the cockpit make the movie worth seeing, in spite of the dumb melodramatics. But only just.
  12. Joy
    I don’t think Russell has ever directed a scene as phony as the one in Joy’s office where she shows her abiding beneficence to a sweet young African-American couple. Equilibrium makes Russell a dull boy.
  13. Still, it does eventually become a bit tedious, and for all the breathless kineticism of the film's second act, you may find yourself twiddling your thumbs. It's a cool game, to be sure, but watching someone else play it gets old after a while.
  14. It would be barely passable under normal circumstances, but in 3-D it's a circus of excellent FX.
  15. It's a rich idea -- a Hartley-esque variation on the theme of American Innocents Abroad. And it works superbly until -- well, Grim's the word.
  16. A lovely minor achievement. It would have been major if Breillat had been more expansive with respect to Anaïs instead of contentedly letting her go on about her lumpish ways.
  17. I think The Revenant is, on the whole, pain without gain, but it’s certainly a tour ​de force — literally, a feat of strength.
  18. Taking Sides has a padded-out, stagebound quality that is anything but lyrical. And Szabó, a Hungarian best known for "Mephisto" and "Colonel Redl," is not at his best here.
  19. It’s fast, rousing, and blessedly brief.
  20. Despite the clunkiness, Estevez's commitment to his father's generation’s idealism (and its murder) commands respect.
  21. As cheap as the whole set-up is, the actors make wonderful music together - even if there's not much left of Eastwood's vocal cords except a handful of dust.
  22. She lip-syncs convincingly to Piaf's songs. Even when she overacts like mad, she makes you think she’s Piaf overacting like mad--the little sparrow with the foghorn pipes.
  23. Parts of The Brothers Grimsby are very funny.
  24. The best part is Jemaine Clement as Benjamin’s grandiose genre hero, Dr. Ronald Chevalier. Even if you love him on "Flight of the Conchords," you’ll be unprepared for his genius--and charisma.
  25. 42
    Helgeland’s epic about Jackie Robinson’s first year in Major League Baseball is uneven — often exciting, and just as often shallow and ham-handed — but if there’s one thing to which it remains true, it's that the almighty American greenback and the all-American athlete are the great destroyers of bigotry.
  26. Genius does a pretty good job of capturing the peculiar drama of the relationship between editors and writers, in this case some of the most revered in American letters.
  27. The movie isn't a dud: It has exuberant bits and breathtaking (money money money) effects. But it's supposed to be fun and inspirational, and it's too leaden for liftoff.
  28. But even with bits that are crazily inspired, Forgetting Sarah Marshall is depressing. The Apatow Factory is too comfy with its workers’ arrested development to move the boundary posts. If they could find scripts by female writers that dramatize the other side of the Great Sexual Divide, it might be a place of joy--and embarrassed recognition--for everyone.
  29. It’s not cinematic enough to make you forget you’re watching something conceived for another, more spatially constricted medium, but it’s too cinematic to capture the intensity, the concentration, of a great theatrical event.
  30. It’s the writer, Diablo Cody, and the director, Jason Reitman, who have screws loose. Or maybe they’re just desperate to make their film a chick "Rushmore" or "Garden State."

Top Trailers