New York Magazine (Vulture)'s Scores

For 1,911 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Cove
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,911 movie reviews
  1. The ending is a huge letdown, doing little besides setting the stage for the sequel… But for a good hour and change, the film is a big toy box that teases you out of the Gloom.
  2. Bier dramatizes our ambivalence so earnestly that it's tempting to give her awards rather than admit that the movie is a crushing bore.
  3. Clean, pleasant, and thoroughly unremarkable. It passes the time, but with that cast and that director, it should have been so much more.
  4. 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.
    • 54 Metascore
    • 50 Critic Score
    The movie is physically beautiful, but the ideas are kitsch -- it’s a New Age love story, the latest version of the doomed romances of 50 years ago.
  5. It's hard to get past the primitiveness of Allen’s fantasies.
  6. Predictable, not so much from his (Zhang Yimou) previous movies as from the work of the many sentimentalists who have already plowed this well-tilled turf.
  7. A frustrating blend of the sharply funny and the ploddingly generic. Although he does them well enough, we don’t really need Ron Shelton to give us the same old skidding-U-turn cop-thriller theatrics. He’s a much more distinctive talent than this crass spree allows for.
  8. Spiderwick. There’s nothing wrong with it that passion and personality couldn’t fix.
  9. The film is sometimes gentle to the point of blandness, but it's never flimsy.
  10. 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.
  11. The film is repetitive, top-heavy: Wright blows his wad too early. But a different lead might have kept you laughing and engaged.
  12. The film may have its roots in reminiscence, but it doesn't feel like it comes from the heart: Zeffirelli's, as usual, is swathed in tinsel. Still, the villas on display are gorgeous, and watching those dowager martinets intimidate the Fascisti is fine sport.
  13. Life After Beth is a reasonably fun, medium-gory horror comedy that’s better before the innards hit the fan.
  14. It downplays the effects of George's drug trafficking, not so much on himself and his cronies as on the wrecked lives of the generation of customers we never get to see.
  15. The middling romantic comedy Smart People, which centers on a hyperintellectual dysfunctional family, is of interest chiefly for the first post-Juno role of Ellen Page.
  16. Love it or laugh at it, you will gaze on Southland Tales with awe.
  17. It's fascinating trying to separate the thirties material from the mostly maladroit additions.
  18. If you can stay awake, you'll see a performance by ­Keaton that is radiant in its simplicity, all ditheriness shaken off. She's still ­peaking - ­someone give her a great role.
  19. 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.
  20. 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.
  21. Pacific Rim made me marvel at the technology of movies, but never the magic of them.
  22. The ultimate effect of this film, directed by actor Diego Luna, is curiously cold — it never transcends the hagiographic nature of its material, despite a talented cast and a compelling subject.
  23. The unfairness of it all would be worth getting more worked up about if Adore were a better movie. It’s not. But it’s a fascinating one nevertheless — a case study in thwarted cinematic ambition and a cautionary tale of stylistic timidity.
  24. If Cheap Thrills ultimately does carry us along, it’s due largely to Healy’s performance and presence. He’s a figure halfway between schlemiel and criminal, and the film effectively works that full range.
  25. There’s a ravishing aliveness to the spacious imagery; at least the clichés have room to roam free.
  26. A routine, stereotype-stuffed sitcom with pretensions.
  27. To be fair, some of it is good, very good. Jersey Boys has an easy, likable gait. It’s Eastwood’s most fluid film: He gets the swing of the music without fancy editing.
  28. Evocative as it is, The Road comes up short, not because it’s bleak but because it’s monotonous.
  29. Pleasant, if inane – helped along by a likable cast that’s clearly having fun.

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