New York Magazine (Vulture)'s Scores

For 1,755 reviews, this publication has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% 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: 62
Highest review score: 100 Starting Out in the Evening
Lowest review score: 0 The Human Centipede (First Sequence)
Score distribution:
1,755 movie reviews
  1. What's odd about Lady in the Water is that for all Shyamalan's histrionics, he's overcontrolled.
  2. Reeves had an easy but peppy presence that was very likable, and Affleck's moroseness doesn't do him justice...and it doesn't help that Adrien Brody--as the film's ­other protagonist, a burnt-out gumshoe--is more actorish than the supposed actor.
  3. With the transformation of Al Franken from comedian to activist, Nick Doob and Chris Hegedus stumbled onto a good subject, but in the documentary Al Franken: God Spoke, they stumble around in it.
  4. The Science of Sleep transports you, but it strands you, too. Apart from the time-machine bit and two or three other daft exchanges, Gondry’s scenes tend to circle around the same drain: the hero’s insufferable narcissism.
  5. An unusually powerful mess, a broad satire of suburban self-indulgence with little in the way of a consistent style, and with a character who's serious business: a convicted child molester.
  6. The tit-for-tat scenario ought to be wildly entertaining, but the magic is crude, the characters flyweight, and the story protracted and unpleasant.
  7. Except for a screamingly funny climax in which he attempts to kidnap Pamela Anderson (who reportedly wasn't in on the joke), I found the Borat feature (directed by Larry Charles, who does similar duties on "Curb Your Enthusiasm") depressing; and the paroxysms of the audience reinforced the feeling that I was watching a bearbaiting or pigsticking.
  8. In their last collaboration, "21 Grams," the director Alejandro González Iñárritu and screenwriter Guillermo Arriaga did syntactical acrobatics to disguise what a dreary and exploitive little soap opera they’d made. Their new movie, Babel, is more mysterious and less coherent.
  9. The tall, cool Kidman works hard to impersonate a woman possessed, but she's not the type of actress to fill in a role that hasn't been filled in on paper.
  10. 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.
  11. 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.
  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. Inland Empire is way, way beyond my powers of ratiocination. It's the higher math.
  14. This is an ambitious midlife-crisis movie that valiantly weaves together big themes, among them the nagging guilt of the successful, wealthy artist.
  15. Working in a mini-genre whose bones would appear to have been picked clean by the likes of Kevin Williamson and Wes Craven, Glosserman and Stieve find a few pints of fresh blood.
  16. Avenue Montaigne would be difficult to stomach if it weren't so light and uninsistent, and if its actors weren't so charming. I still rolled my eyes--but sometimes I do that when I get a really good croissant.
  17. This is the first big-studio action picture with some of the disgusted, bloody nihilism of the post-Vietnam era.
  18. The film is slick when it needs to be raw, tidy when it needs to sprawl, and amorphous when it needs to focus.
  19. If "Psycho" and "Peeping Tom" are the seminal killer-as-voyeur movies, Vacancy is the nasty little runt offspring with no other purpose in life but to gnaw on you.
  20. If you want proof that Will Ferrell is the most riotously funny straight man since Jack Benny, observe the way his utter sincerity (in the Ralph Bellamy role, as Wendell’s rival for Eva Mendes) lifts this two-ton piece of whimsy into the stratosphere.
  21. The film is based on a novel by Susan Minot--one of those books where the author doesn't deign to put dialogue in quotation marks for fear of dispelling the dreamlike mood. It works on paper, but Minot, who shares credit for the adaptation with fellow novelist Michael Cunningham, doesn't understand that screenwriting is the art of taking away.
  22. The line between eeriness and tedium is fatally fluid.
  23. A bearable period chick flick with a self-congratulatory “realistic” conceit.
  24. The movie has grand (and Grand Guignol) bits and pieces, but despite the hype it’s no big deal. By horror standards, the premise isn’t especially outlandish.
  25. With all the narration and fits of slow motion, the movie seems like the work of a nervous chain-smoker. It lacks concentration--and with it, the potential for rapture.
  26. Hit and miss, but its tone of lyric melancholy is remarkably sustained.
  27. Too often, it’s the MOVIE that isn’t there. What’s meant to be archetypal comes across as superficial.
  28. Love it or laugh at it, you will gaze on Southland Tales with awe.
  29. A spare, melancholy film that is so far in spirit from its source, Philip Roth's "The Dying Animal."
  30. The 61-year-old Stallone would deserve a measure of respect for pulling Rambo off, appalling as it is, but this Fangoria-worthy circus of horrors also features footage of actual Burmese atrocities.

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