New York Magazine (Vulture)'s Scores

For 1,931 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 Triplets of Belleville
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,931 movie reviews
    • 80 Metascore
    • 90 Critic Score
    Writer-director Richard Kwietniowski has never made a feature before, but this debut effort is a triumph, a buoyant and elegant achievement -- romantic and ruminative yet always precise, a comedy of longing propelled by a strong current of satirical observation.
  1. Blessed is the go-for-it movie that can make room for dissonances and weirdness.
  2. Paranoid Park is a supernaturally perfect fusion of Van Sant’s current conceptual-art-project head-trip aesthetic and Blake Nelson’s finely tuned first-person “young adult” novel.
  3. Shot by shot, scene by scene, it's a fluid and enthralling piece of work. I wasn't bored for a millisecond.
  4. As a go-for-it music movie, Whiplash is just about peerless. The fear is contagious, but so is the jazz vibe: When Andrew snatches up his sticks and the band launches into a standard—say, Hank Levy’s “Whiplash”—it’s hard not to smile, judder, and sway.
  5. I’ve sat through so many claustrophobic examples of the genre I forgot how exhilarating, how pure a great one could be. Interview is a great one--electric as theater and cinema.
  6. Fiennes and Logan haven't made a definitive Coriolanus, but they've made a sensationally gripping one. They have the pulse of the play, its firm martial beats and its messy political clatter. They tell a damn good story.
  7. The movie is a triumph of an especially satisfying kind. It arrives at a kind of gnarled grace that’s true to this sorry old man and the family he let down in so many ways.
  8. Joel and Ethan Coen’s Inside Llewyn Davis is an exquisitely crafted tale of woe with heartfelt early-sixties folk music — and an overarching snottiness.
  9. Mad Max: Fury Road is certainly a blast and a half: You don’t just watch it, you rock out to it.
  10. Wiseman lets the material breathe in a manner unique to the subject.
  11. Stunning, explosively moving.
  12. Michel Bouquet's performance makes Anne Fontaine's How I Killed My Father required viewing.
  13. Please don’t bore me by complaining that the characters are “unlikable.” The defense admits that the movie is indefensible. Just breathe in the aroma of decay and howl like a banshee.
  14. Most of the time we are with Cruise and Foxx, and their interplay is never less than galvanizing.
  15. It’s a near masterpiece.
  16. It was splendid! No, it’s not a larky kid-pic. We're firmly in the realm of English horror.
  17. In Mysteries of Lisbon, the prolific Chilean-born director and egghead Raúl Ruiz has achieved something remarkable, at once avant-garde and middlebrow: the apotheosis of the soap opera.
  18. Observe and Report is the rare "action-comedy" (almost always a muddled hybrid) that earns its cathartic climax. The blood is real because the psychosis is real. But somehow--the magic of comedy--it's also uproarious.
  19. This amazing, maddening film presents a series of extended, mostly static, terrifying tableaux of despair, poverty, and decay.
  20. No actor is as brilliant, or as cunning, as Denzel Washington at portraying superhuman coolness and the scary prospect of its loss.
  21. It becomes a meditation on the dual nature of film, on a "reality" at once true and false, essential and tainted.
  22. Linklater, whose previous movies include "Slacker," "Before Sunrise," and "Waking Life," may be the most versatile director of his generation. School of Rock is his most unabashedly mainstream movie by far, and yet it’s commercial in the best way.
  23. It’s a magical little movie about a most unmagical subject.
  24. Wit and charm matter, and The DUFF has a good deal of both. The cast will be stars, the gags will be immortal, and you’ll still be watching this movie years from now.
  25. A comedy in the best sense--it draws its life from the pitch-perfect authenticity of its characters.
  26. The brilliance of Gett: The Trial of Viviane Amsalem is that, without a shift in tone, the film begins to seem like a tragedy populated by clowns, its males clinging to ancient laws to compensate for feebleness of character.
    • 69 Metascore
    • 90 Critic Score
    Live Flesh, the best movie from Almodóvar since that Iberian screwball classic "Women on the Verge of a Nervous Breakdown."
  27. The film is lyrical, expansive, unbearably beautiful.
  28. A flashy, nasty triumph

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