New York Magazine (Vulture)'s Scores

For 1,958 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Class
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,958 movie reviews
  1. It's an opulent, if instantly disposable, kinetic joyride.
  2. Here's what's depressing: that, given the millions spent on defense by multinational conglomerates, our last best hope isn't the courts but the fickle attentions of glossy magazines and the noblesse oblige of celebrities.
  3. Apart from having no particular reason to exist onscreen, especially at these prices, it's not half bad.
  4. It's a marvelous, resonant joke that never quite succeeds: Stretches of the film resemble a Dario Argento horrorfest crossed with a Mel Brooks spoof. But the director, E. Elias Merhige, and his screenwriter, Steven Katz, occasionally bring some rapture to the creepiness, and Dafoe's vampire, with his graceful, ritualistic death lunges, is a sinewy, skull-and-crossbones horror who seems to come less out of the German Expressionist tradition than from Kabuki.
  5. The movie does a good job of capturing how ostracism and liberation are sides of the same spinning coin.
  6. It's tricky, it's surprising, and it's largely faithful to the original mini-series, but in context it's a nonevent. It's like a time bomb that's never dismantled but never explodes. The movie is good enough that the ending leaves you … not angry, exactly. Unfulfilled.
  7. This is not the kind of material for a stately biopic or a political drama. This is nasty, strange business — perfect for Ferrara, whose work often hovers between art and exploitation, between angst and sleaze.
  8. Has an appealing rawness.
    • 73 Metascore
    • 60 Critic Score
    Ray
    Sure, it’s the Jamie Foxx breakout role. But the movie around it is so systematically “inspirational” that it comes perilously close to sabotaging the breakout.
  9. Hercules has no right to be as entertaining as it is.
  10. The descent into a tepid thriller of sexual jealousy slowly negates the abstract, almost metaphorical quality of this film — and it ultimately undoes the spell cast by that mesmerizing first half.
  11. Something is missing, though. The themes are all there, but the movie doesn't cross the blood-brain barrier and rev you up.
  12. Franklin directs smoothly, but except for Freeman, the theatrics are pretty pro forma.
  13. It’s puffed up in obvious ways but disarmingly puckish in others. As that capering pirate, De Niro is god-awful--yet his gung-ho spirit wins him Brownie points.
  14. It’s a cracker­jack piece of filmmaking, a declaration that he’s (Eastwood) not yet ready to be classified as an Old Master, that he can out-Bigelow Kathryn Bigelow. Morally, though, he has regressed from the heights of Letters From Iwo Jima (2006). In more ways than one, the Iraq occupation is seen through the sight of a high-powered rifle. The movie is scandalously blinkered.
  15. Suggests a cross between "Sunset Boulevard" and "All About Eve." The suggestion, alas, doesn't go very far, but Bening's performance approaches the pantheon.
  16. The movie isn't as world-shattering as those bouts: It's a regretful-old-warrior weeper.
  17. It’s a genre-bending mash-up, a non-vampire vampire movie about class, race, love, and cruelty. It consciously seeks to marry its diverse influences in an attempt to present something between schlock and art house, between passionate gore and urbane chill. It contains multitudes, and not always all that well.
  18. This one is dully conventional even by family-uplift standards. The details are sweated, all right: It's a triumph of perspiration over inspiration.
  19. Look closely and you may see that this madame is alive in all sorts of ways. At least for its first half, this is a textured, haunted, remarkably empathetic film.
  20. Earth to Echo resonates, despite itself.
  21. Much of the bloat is still there, but The Desolation of Smaug, the second film in the Hobbit trilogy, is a real improvement – filled with inventive action set pieces and dramatic face-offs that we (finally, at long last, hallelujah!) care about.
  22. The fifth entry in the popular dance-off franchise is, like the others, a fantasia that upends the usual rules of filmmaking. Here, the more threadbare the scenario, and the more unmotivated an action, the better. Character and story just get in the way of all the awesome dancing.
  23. This is familiar terrain jazzed up by unfamiliar voices--principally Terrence Howard and his high-pitched, singsong drawl. You don't quite know what he's thinking; he might even be demented. But he keeps you watching and guessing.
  24. Anderson is something of a prodigy himself, and he's riddled with talent, but he hasn't figured out how to be askew and heartfelt at the same time. When he does, he'll probably make the movie The Royal Tenenbaums was meant to be, and it'll be a sight to see.
  25. Except for a few brilliant flashes, mostly from Peter O'Toole as Hector’s father, the Trojans' magisterially woebegone King Priam, Troy is a fairly routine action picture with an advanced case of grandeuritis.
  26. Even when it spreads itself too thin, Look Both Ways enlarges your perception of the here-and-now--and what movies can do to transcend it.
    • 67 Metascore
    • 60 Critic Score
    Ronin is well-made, but it's an act of connoisseurship for people who have given up on movies as an art form.
  27. LaBute is attacking our society’s obsession with the surface of things, whether it be a painter’s canvas or a human one, but his drama is, in itself, relentlessly superficial.
  28. Margot at the Wedding doesn’t develop; it just skips from one squirmy scene to the next.

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