New York Magazine (Vulture)'s Scores

For 1,983 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The End of the Tour
Lowest review score: 0 Enough
Score distribution:
1,983 movie reviews
  1. It's the worm set pieces that rule, as our hero must carry out a dare to eat ten worms ten ways between sunup and sundown.
  2. Fortunately, there are more than enough moments when the heavy-handedness gives way to the sheer bliss of ordinary magic.
  3. Zoo
    Devor doesn't endorse horse-on-man sex, but he does attempt--with sympathy--to account for the appeal.
  4. Holy Rollers fuses a somber, old-world palette with a jittery urban unease--a good mix of tones. It’s also wonderfully acted.
  5. The film itself is uneven, but it’s kind of awesome seeing Bateman act so vile.
  6. Watching it is like getting a peek behind the curtain. But it's frustrating, too, because the casting of Emadeddin as a murderer-in-the-making precludes any psychological depth. And as an indictment of social inequality, which is the film's calling card, Panahi inadvertantly makes a far better case for the haves than for the have-nots.
  7. Powerfully rendered in every respect - and another testament to how bad the Nazis are for drama.
  8. He doesn’t entirely succeed, but the attempt has poignancy: As uneven as much of his recent work has been, Bertolucci's still in love with the movies, and his ardor--if not always the ends he puts it to--is exhilarating.
  9. Scene by scene, Jindabyne has dramatic force, but it's an awfully long slog. Carver's smartest tactic was never outstaying his welcome.
  10. Too bad the movies collapses at the end when we find out what's really going on. Baghead is so much more vivid when it's indefinite.
  11. It’s campier than its predecessor, but its gung ho union of black, white, and Asian gangs against reactionaries who’d destroy them is a virtuosic assertion of punky Parisian multiculturalism.
  12. The Croods isn’t particularly smart, but it has just enough wit to keep us engaged and just enough speed to keep us from feeling restless.
  13. It gets the job done and then some, but it's ugly and clumsily shaped, and every scene is there to rack up sociological points.
  14. There aren’t too many ingenious new concepts in today’s horror and fantasy films, but I’ll be damned if Horns doesn’t come close, at least at first.
  15. By now we’ve seen so many good, bad, and indifferent Sherlocks that it’s almost a relief to get something different, however wrongheaded. And there’s no such thing as too much Downey.
  16. As amusing as the movie is, I think in the end that Ascher misses the labyrinth for the trees.
  17. Though a mess by all conventional narrative standards, Avengers: Age of Ultron is a fascinating case study in the rules of “universe” storytelling. Chief among them is that a film may not be self-contained — it must constantly allude to worlds outside its own. Marvel fans want extra characters, extra subplots, in-jokes that pander to their supposed breadth of knowledge. They don’t want closure.
  18. The problem is that Allen is getting a bit long in the tooth to be playing a romancer-rescuer, and since he and Helen Hunt have a rather frigid actorly rapport, we have plenty of time to notice the awkward, and barely acknowledged, disparity in their ages.
    • 64 Metascore
    • 60 Critic Score
    Not revolutionary or even evolutionary but enormously .... methodical. Working from an Elmore Leonard novel, Tarantino has created a gangster fiction that is never larger than life and sometimes smaller.
  19. Clooney may be a specialist in embattled camaraderie--he helped revive "Ocean's Eleven," after all--but as in that caper remake, there's no depth to these characterizations, and Downey and Clarkson are squandered in a goes-nowhere subplot about their secret marriage.
  20. At one point, Val bemoans how stupid the country is, how dumbed-down everything has become. Allen's new movie is far from dumb, but it has an air of abdication about it.
  21. What makes Nolte so much stronger than the other performers is precisely this sense of mysteriousness and indirection, which doesn't really correspond to the Adam Verver of the novel but certainly jibes with James's overall method.
  22. In any case, the last twenty minutes of Breaking Dawn are so harrowing that it's possible to forget that most of the acting is soap-operatic (the guy who plays Carlisle is aging to look like Liberace) and the dialogue from hunger. The movie's that primal.
  23. A true story of courage and survival, yes. But viewing the destruction of the World Trade Center--in a film called World Trade Center--through this kind of prism represents a distinctly Hollywood brand of tunnel vision.
  24. I'm not sure I have it in me to rant yet again about what a deprivation it is for our finest actor to deny us his genius in this way.
  25. Despite all the computer-generated effects and highflying superhero theatrics, this roughly $120 million movie is, with few exceptions, remarkable only in its small human touches.
  26. Fitfully effective as a battle movie, and Mel Gibson does his rugged best to take center stage without seeming to. But the movie is self-righteous in a way that's frequently unseemly.
  27. Hit and Run works less as a film and more as a likable, semi-documentary romp among friends. The illusion of the drama may be gone, but it's been replaced by something more authentic and adorable. And we might be okay with that.
  28. The movie itself isn’t dull. It’s moderately stylish, moderately suspenseful, fun in patches. It hits its marks. But the setup lacks urgency.
  29. Spy
    Feig keeps throwing so much stuff at you — gross-out gags, chases, brutal violence, not to mention actors working their heads off — that he finally wears down your resistance. In the end, I admired him for keeping this ramshackle construction together, casting performers I adore, and proving that Melissa McCarthy can, indeed, hold a gun. A mixed victory. A definitively mixed review.

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