New York Magazine (Vulture)'s Scores

For 1,823 reviews, this publication has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 WALL-E
Lowest review score: 0 The Human Centipede (First Sequence)
Score distribution:
1,823 movie reviews
  1. 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.
  2. Very entertaining (and doesn’t overstay its welcome) but it’s a little depressing to contemplate.
  3. I came out giddy, feeling lighter--by about five-sixths--than I did when I went in.
  4. Lake of Fire centers on abortion, but Kaye understands that while dead fetuses are the hook, the agenda covers the whole life cycle.
  5. His (Sidney Lumet) touch in Before the Devil is so sure, so perfectly weighted, that it’s hard to imagine him capable of making a bad movie. The thing is just enthralling.
  6. A brilliant study in the link between moral corruption and narcissism.
  7. It’s a near masterpiece.
  8. The Savages is a delightful movie--the perfect companion piece (and antidote) to the year’s other superb convalescent-dementia picture, "Away From Her."
  9. Satrapi’s parents ship her off to a French school in Vienna, but she’s rudderless, ungrounded. She’s drawn back to a devastated Tehran, where she can’t design a life, either. This great film, by Satrapi and Vincent Paronnaud, is that life, designed. It freed her mind; it frees ours.
  10. Burton, bless him, constricts the space and concentrates the melodrama; he finds the perfect balance between the funereal and the ferocious. Above all, he treasures these ghouls: He digs both their bloodlust and their melancholy.
  11. We’ve never sat through anything with Cloverfield’s subjective sting. You’d have to be tougher than I was not to be blown sideways by it.
  12. The coup de grâce is especially graceless because everything we know is already visible in Marinca’s eyes. The actress is extraordinary.
  13. 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.
  14. In The Flight of the Red Balloon, the great Taiwanese filmmaker Hou Hsiao Hsien uses Albert Lamorisse’s 1956 masterpiece "The Red Balloon" as a springboard for his own masterpiece--a distinctively modern and allusive one, yet so tender and plaintive that you understand what Hou is up to on a preconscious level.
  15. Loyal assistant, Pepper Potts, isn't much of a part, but Gwyneth Paltrow is a presence. She stands around looking amused and flabbergastingly pretty, slinging wisecracks with serene aplomb.
  16. The Edge of Heaven is powerfully unsettled--it comes together by not coming together.
  17. It takes about an hour after it's over for the heart to slow, the brain to recalibrate, and the nonsensicalness of the thing to sink in.
  18. Chris & Don is the rarest of documentaries: a realistic portrait of the human spirit.
  19. It was splendid! No, it’s not a larky kid-pic. We're firmly in the realm of English horror.
  20. Among the most enraging (documentaries) I've ever seen, and while it's fine and heartfelt and I commend it to those of you with strong constitutions, it is the film that has finally broken me.
  21. The whole thing is irresistibly preposterous.
  22. Is A Christmas Tale a masterpiece? Maybe. I have to play with it longer. It's certainly Desplechin's most accessible film, in part because its dysfunctional-family-holiday-reunion genre is so comfy and its palette so warm.
  23. The film is lyrical, expansive, unbearably beautiful.
  24. The ensemble is stupendous--howlingly great--and the music goes deep.
  25. The movie is a political remake of "The Passion of the Christ," only more aestheticized: It's rigorous, evocative, and, in spite of its grisly imagery, elegant. It's a triumph--of masochistic literal-mindedness.
  26. Doubt is still overpowering; it took me a while when it was over to stop shaking. It's the dramatist’s business to sow doubt, to set down points of view that can't be reconciled, and Shanley makes visceral the notion that one can be right but never absolutely right, that doubt might be our last, best hope.
  27. There isn't a banal moment in Winslet's performance--not a gesture, not a word. Is Winslet now the best English-speaking film actress of her generation? I think so.
  28. Up
    By all means, see Up in its 3-D incarnation: The cliff drops are vertiginous, and the scores of balloons--bunched into the shape of one giant balloon--are as pluckable as grapes.
  29. Troell’s entrancingly beautiful Everlasting Moments uses surfaces--light, texture, faces--to hint at another world, a shadow realm.
  30. Like his protagonist, Bahrani never gives up on William; his camera never stops probing. He loves West's face, and he honors its mystery.

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