New York Magazine (Vulture)'s Scores

For 2,272 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 I Called Him Morgan
Lowest review score: 0 Only God Forgives
Score distribution:
2272 movie reviews
  1. The lax, lame A Walk in the Woods is a road movie without a road, a journey of self-discovery without discovery, and a tale of friendship without any chemistry.
  2. As Brown becomes more flagrantly self-destructive and at the same time more deluded, you realize you're watching "Bad Lieutenant" made by a tediously finger-wagging Jew instead of a tediously desecrating Catholic.
  3. The sequel, Planes: Fire and Rescue, is still a DisneyToon production, but it does aim higher, with a visual zip that was lacking from the first. It is, in almost all respects, a better movie. It’s still not particularly good, though.
  4. The performance is extraordinary, literally: Close resembles no man I've ever seen, or woman either. She's the personification of fear - the fear of being seen through, seen for what she is.
  5. The film would be better if it were gentler. It's broadly written and played, the actors too busy telegraphing their characters' emotions to let us contemplate their faces in peace.
  6. The movie substitutes milky, washed-out color and funereal music for insight. The murders are purposely un-fluid: When you see Mohammad or Malvo take a shot, you don’t see the impact of the bullet. When you see the victim struck, you don’t see the shooter.
  7. It will resonate with anyone who has ever buried a loved one and struggled to reconcile the myriad emotions--grief, anger, helplessness. Which is to say, everyone. And yet out of this premise comes glop. Departures needed a little more work in the morgue--like cutting to the bone.
  8. Fuqua deliberately downplays the fantastical in King Arthur, but the gritty faux realism wears itself out quickly. You've seen one lancing, you've seen them all.
  9. It starts to feel less like a thriller than an actors’ workshop.
  10. Sinister 2 is far from perfect, but it has a nobility that’s rare in much modern horror cinema.
  11. Johnny Depp makes a valiant stab at the part, but even with his hair thinned and lightened and his face hardened, Depp remains Depp: I never forgot I was watching a big star doing an impersonation. It’s as if the spirit of a psychopath like Bulger resists the camera. Or maybe the movie isn’t imaginative enough to penetrate his shell.
  12. It's good enough that you forget how much better Brian De Palma could do it. The rest is a slow road to nowhere, less clunky than "The Interpreter" but bogged down by its own cynicism.
  13. Works only in spurts.
  14. Showing the allure and gradual corruption of power through the eyes of a third party — sort of a mixture of "The Great Gatsby" and "Scarface" — is a solid conceit. But Andrea Di Stefano’s underbaked film doesn’t quite know what to do with it.
  15. American Ultra is undemanding late-summer studio fare — ultraforgettable. But I’ll remember the faces of Eisenberg and Stewart, who are easy to ridicule but, whatever the pundits say, very much movie stars.
  16. Kill Your Darlings wants to be a young man’s movie, but it’s all “cinema du papa,” as the French New Wave used to call it. The philosophical disconnect is downright cosmic.
  17. In their move from 11-minute episodes on TV to 94 minutes, Tim and Eric have lost none of their hilarity or irreverence. But this time around, they somehow manage to be tedious, too.
    • 52 Metascore
    • 50 Critic Score
    If more can't be found in Bond than this, I wouldn't object, in principle, to that tuxedo's being hung up in the closet for good.
  18. What Hooper can’t manage is to put us inside his characters’ heads — where we should be in a story that makes every surface suspect.
  19. Hit and miss, but its tone of lyric melancholy is remarkably sustained.
  20. Their amalgamations can be feats of genius, like their stoner-gumshoe farrago "The Big Lebowski." Or they can pretty much lie there, like much of their new, star-packed comedy, Hail, Caesar!, which is nothing but movie fodder.
  21. It's not a particularly complex (or pleasant) film, but along the way you get a glimpse of the kinds of neighborhoods that give birth to anti-Western fanatics.
  22. I know I'm going to bring down the room by saying I think it's just okay. Well, Jennifer Hudson is more than okay.
  23. This is the first big-studio action picture with some of the disgusted, bloody nihilism of the post-Vietnam era.
  24. By the time the film works up to its finale, what secrets it wants to reveal to us have become fairly obvious. But they still carry a dark charge; Diablo’s ultimate grisliness is impressive in its own way. And it might have worked, had the film not asked entirely too much of its young lead.
  25. Without a character, he’s (Pitt) back to that soft, appraising, Robert Redford Jr. stare, his mouth half open as if he’s about to speak but plainly with nothing on his mind apart from, “This is what a movie star looks like without any lines.” The ghouls are having deeper thoughts.
  26. The highest-gloss revenge porn imaginable. It’s hard to believe that so much visual elegance has been brought to bear on material so ugly, and yet the disjunction is intentional, and the film is all of a piece.
  27. Worth seeing, even if you're as ambivalent about it as I am. Its strength is in the way the drama creeps up on you.
  28. If you're in the mood for a liberal message movie in which the only surprise is no surprise, American Violet is the ticket.
  29. What's odd about Lady in the Water is that for all Shyamalan's histrionics, he's overcontrolled.

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