New York Magazine (Vulture)'s Scores

For 2,002 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 Spirited Away
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
2,002 movie reviews
  1. Bloated and often boring and has absolutely no reason to exist, but that it also hits its marks. No fanboy will pass it up. No studio head will lose his or her job.
  2. Ender’s Game’s only lyrical presence is Breslin’s. The actress has a gentle soul. In the end, she’s the movie’s mascot, and its mournful spirit.
  3. Sandler isn't afraid of plumbing his dark side, but Apatow fails him: Scenes of George's self-pity drag on too long, and as the character loses stature, Sandler recedes from his own vehicle. Rogen doesn't fill the vacuum.
  4. Cage is the only reason to check out an otherwise mediocre movie.
  5. The segments are essentially monodramas, so sketchily written that the big moments feel less like recognizable human behavior than recognizable screenwriter overreaching.
  6. Infinitely Polar Bear is a good example of how a film that looks on paper like a mess of indie clichés can be redeemed by fantastic performances … even if, ultimately, it remains a mess of indie clichés.
  7. We know where it’s going, and it doesn’t take long to get there. There are some good jokes along the way, a few of them blandly off-color.
  8. It's depressing when the best thing you can say about a comedy is that its second-rateness is pleasantly in sync with its unmagnetic hero.
  9. Watching the impossibly dry and somnambulant Good Deeds, you actually miss that crazy side of Perry. It's sort of ironic: Here's a film about a guy who's being false to his true self, and you realize the director might be doing the same.
  10. It’s a strange spectacle: a horror film that spends as much time dismantling suspense as it does building it.
  11. I realize Legally Blonde 2 was not intended as scathing political satire, but I wish someone out there in movieland did indeed have just such an intention these days.
  12. Steven Soderbergh is usually an inspired chameleon, perfectly suiting his style to his content. But The Good German is an ambitious miss...It's all very beautiful, high-minded, and remote.
  13. The line between eeriness and tedium is fatally fluid.
  14. Jarecki shows off this footage as evidence of a truly dysfunctional family in various stages of denial. What it reveals at least as much is the modern phenomenon of reality-TV self-exposure carried to such lengths that, by comparison, the Osbournes look like the Cleavers.
  15. The best thing about the new 300: Rise of an Empire is that Zack Snyder didn’t direct it. And the worst thing about it is that Zack Snyder didn’t direct it.
  16. Directed by David Zellner from a script he wrote with his brother, Nathan, the film has its tender mercies, as well-meaning Minnesotans attempt to reach out to this preoccupied Japanese woman with almost no English.
  17. There’s a special kind of hell for artists who array vigilante revenge-porn in saintly garb, and Denzel Washington and director Antoine Fuqua should go to the front of that damnable line after The Equalizer.
  18. Gibson is better in the later scenes, when Walter tries to escape the Beaver's nefarious influence. And Gibson's never bad. It's just that we know how much is missing. As a raging nutcase, he's capable of so much more.
  19. I’m not sure that depicting Rove as a demonic Wizard of Oz does much more than stir righteous indignation among the already indignant. A more pertinent and challenging mission would have been to show just how the public can be gulled by Rove's dirty tricks in the same ways again and again.
  20. The movie would be more bearable without the unyielding score by Clint Mansell, which somehow melds the worst of Minimalism, art rock, and New Age music. It's what you'd hear if your massage therapist wanted to induce a stroke.
  21. Art as a passport to healing may be what audiences are craving these days, but the poultice provided by this movie couldn't cover a paper cut.
  22. I wouldn’t believe that Run, Fat Boy, Run was co-written by Simon Pegg (of Shaun of the Dead and Hot Fuzz) if he weren’t up there on the screen in teeny briefs and with his gut stuck out, trying to endear himself to the American audience in material maybe a notch above Rob Schneider’s.
  23. The problem with Christine Jeffs’s Sylvia, as with most movies about deeply troubled artists, is that for the most part we are seeing the troubles and not the artist.
  24. Parker "opens up" a play that was perfectly wonderful closed down. Wilde subtitled his masterpiece "A Trivial Comedy for Serious People." This movie seems intent on being a trivial comedy for trivial people.
  25. But the real problem behind Paranormal Activity 4 is that its entire raison d'être has gotten old; producer Oren Peli, who directed the first one, even included some gentle digs at the found-footage genre in his superior "Chernobyl Diaries," released earlier this year.
  26. It’s too cursory, too frivolous to make a case for the show’s importance as an American institution, even though it insists on it.
  27. The Lords of Salem is gloomy, lacks variety, and is not without its flat patches. Heidi is an increasingly dullish heroine, and in the first 15 minutes you’ll know what’s going to happen in the next 80.
  28. W.
    W. isn't gripping enough as drama or witty enough as satire. It's neutered.
  29. There's not much here for a great actor to sink his teeth into once, let alone twice.
  30. Those shots are in contrast to those landscapes, which are craggy, primordial. It’s meant to be a haunting combination, and I have colleagues who’ve found it just that, who came out of the movie ashen, devastated. But I found it bludgeoning — I think it gives new meaning to the phrase hammer of God.

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