New York Magazine (Vulture)'s Scores

For 2,311 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Happy Feet
Lowest review score: 0 Fantastic Four
Score distribution:
2311 movie reviews
  1. 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.
  2. No filmmaker I know has gotten as close to a professional athlete as James Toback gets to Mike Tyson in his new documentary.
  3. Hot-dog Hong Kong action stylist Johnnie To has never achieved the cult status of John Woo in this country, but his explosively entertaining — and startlingly splattery — Drug War should win him new fans.
  4. One of the very best American independent films you’ll see this year, John Magary’s The Mend, takes what could have easily been a mundane tale of brotherly dysfunction and turns it into something abstract and electrifying.
    • 81 Metascore
    • 90 Critic Score
    A brilliant, disturbing, but unstable and half-crazy piece of work.
  5. In The Flight of the Red Balloon, the great Taiwanese filmmaker Hou Hsiao Hsien uses Albert Lamorisse’s 1956 masterpiece "The Red Balloon" as a springboard for his own masterpiece--a distinctively modern and allusive one, yet so tender and plaintive that you understand what Hou is up to on a preconscious level.
  6. The Kidman in Rabbit Hole is a revelation.
  7. The Martian is shot, designed, computer-generated, and scripted on a level that makes most films of its ilk look slipshod. Scott and writer Drew Goddard aren’t trying to make an “important” sci-fi movie like Interstellar. They aim lower but blow past their marks.
  8. What keeps Sicario from cynicism is the nature and depth of Villeneuve’s gaze, not childishly wide-eyed but capable still of feeling pain. He’s a terrific director. You know that if his heroine, Alice, gets out of Cartel-land alive, she might spend a few months in an asylum, but she’ll be back, hell-bent on seizing the foreground.
  9. Drolly funny and rigorously executed, Corneliu Porumboui’s The Treasure offers a fine example of the conceptual boldness that characterizes much of New Wave Romanian cinema.
  10. Troell’s entrancingly beautiful Everlasting Moments uses surfaces--light, texture, faces--to hint at another world, a shadow realm.
  11. If you think LaBeouf is a joke, you need to see him here. There’s wildness there, but acting centers him. He’s magnetizing.
  12. This is Kent’s first feature — an astonishing debut. Not perfect, though.
  13. Starred Up is an edgy, teeming thriller, brilliantly disorienting, making strange a world we thought we knew, at least from other movies.
  14. Arnold's first feature, "Red Road" (2006), centers on another outsider, a woman who monitors security cameras. The film is formally brilliant, but it doesn't have the breathtaking openness of Fish Tank.
  15. This is one of the most galvanizing documentaries I've ever seen.
  16. When this long movie is over, all you want to do is clap and weep and watch it all over again immediately.
  17. Endlessly enchanting.
  18. 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.
  19. Far beyond the courage of its convictions, The Armor of Light also has the intelligence and grace to embrace its contradictions. It’s a beautiful, conflicted piece of work.
  20. With this cast, and such a vivid sense of play, Results manages, in its own subtle, unassuming way, to reinvent the rom-com. It’s enchanting.
  21. The power of Little Men is in how the characters resist the melodramatic flow (which is, come to think of it, how Chekhov works, too).
  22. A haunting, morbidly romantic melodrama with obvious links to "Vertigo," but from a reverse angle.
  23. I've never seen another movie that so clearly expresses the sensual sustenance that great folk culture provides its practitioners.
  24. The Great Beauty is a subtly daring cinematic high-wire act — an entire film built around one character’s unrealized, unspecified yearning. And it might just be the most unforgettable film of the year.
  25. While making his new film, he (McElwee) imagines that his boy is looking back at his screen image from some distant point in the future, when McElwee himself is gone. No child of a moviemaker could ask for a more beautiful bequest.
  26. As he proved in his Iraq-centered "No End in Sight," policy wonk turned documentarian Charles Ferguson has no peer when it comes to tracking the course of a preventable catastrophe.
  27. Murray's performance is at once enormously generous and fiercely, concisely witty.
  28. What's remarkable is how often the photographer's subjects allow themselves to be caught on film; it's as if they understood implicitly that Nachtwey was there not only to agitate for reform but to memorialize their agony. He does both.
  29. You could never call Solondz a humanist, but he achieves something I've never seen elsewhere: compassionate revulsion.

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