New York Magazine (Vulture)'s Scores

For 1,725 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 The Deep Blue Sea
Lowest review score: 0 She Hate Me
Score distribution:
1,725 movie reviews
  1. The sad part is that How Do You Know is nowhere near as dumb as it looks. A couple of comic set pieces are inspired-or would be, if Brooks's timing weren't off.
  2. At least The Green Hornet is likable, and a refreshing change from the heavy, angst-ridden superhero pictures so beloved by obnoxious fanboys.
  3. The thing is scary as hell when it's all creaks and thumps and doors swinging open. Then come the explanations, the special effects, and the inevitable feeling of been-there-been-­bombarded-by-that.
  4. Bier dramatizes our ambivalence so earnestly that it's tempting to give her awards rather than admit that the movie is a crushing bore.
  5. Gibson is better in the later scenes, when Walter tries to escape the Beaver's nefarious influence. And Gibson's never bad. It's just that we know how much is missing. As a raging nutcase, he's capable of so much more.
  6. The film is sometimes gentle to the point of blandness, but it's never flimsy.
  7. It's the only Almodóvar movie in which feeling, emotional or sexual, doesn't suffuse the imagery and hold the ramshackle melodrama together.
  8. The non-ending turns the whole movie into an elaborate tease, too creepy to dismiss, too shallow to justify its "ambiguities."
  9. Novelist-turned-director Leigh's dryly efficient style is perched between the matter-of-fact and the impossibly arty.
  10. 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.
  11. Anyway, "Children of Men" this ain't, though the inert directing of Len Wiseman (who helmed the first two films and has a producer credit here) has thankfully been replaced by Mans Marlind and Bjorn Stein, who seem to have a lot more verve and even some visual whimsy.
  12. 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.
  13. Neeson's gravity elevates the action, and there's a fine, prickly performance by an actor new to me, Frank Grillo, as the asshole of the group. But The Grey, despite moments of sublimity, is as predictable as a funeral. When Ottway angrily calls out to God, the nonanswer is sadly redundant.
  14. The film bulldozes any genuine nuance or insight or even emotion in exchange for ready-made plot points and by-the-numbers catharsis.
  15. There is one nice pop-up scare against a dozen or so false, ineffectual ones - a poor percentage. As the title states, she is a woman and wears black, but she might as well be a hastily decked-out script girl for all her impact.
  16. The gut-whomping, high-concept romantic thriller This Means War is not a distinguished addition to director McG's oeuvre.
  17. Spirit of Vengeance is so focused and, as a result, so impoverished that you actually feel bad for Cage. The actor tries to bring the weird (though at this point one wonders if he can even do anything else) but the film more often than not leaves him high and dry, saddling him with standard-issue action hero lines and boilerplate action set-pieces.
  18. Watching the impossibly dry and somnambulant Good Deeds, you actually miss that crazy side of Perry. It's sort of ironic: Here's a film about a guy who's being false to his true self, and you realize the director might be doing the same.
  19. As a tribute for the awesome destructive power of the teenage libido, the house-party-gone-apocalyptic flick Project X is pretty compelling...Think "Girls Gone Wild" meets "Black Hawk Down." Unfortunately, it also appears to want to tell a story, with characters and things, and on that level it pretty much completely falls apart.
  20. 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.
  21. To be fair, when the story is moving, it's okay.
  22. Watching The Hunger Games, I was struck both by how slickly Ross hit his marks and how many opportunities he was missing to take the film to the next level - to make it more shocking, lyrical, crazy, daring.
  23. The Snow White comedy Mirror, Mirror turns out to be not that terrible - or maybe it's that the terrible first half hour wears you down so much that the rest seems relatively pleasant.
  24. 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.
  25. 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.
  26. The finished product is in a different league than the whompingly terrible Men in Black II - it hits its marks. But it's not inventive enough to overcome the overarching inertia, the palpable absence of passion.
  27. It also comes as little surprise that she (Fonda) knocks the part out of the park, even if the film around her leaves something to be desired.
  28. As usual, it's Banks, who's turning great performances in lousy movies into some kind of brilliant career strategy.
  29. He's still a young guy, but all throughout Witness Protection I imagined Perry sitting glumly at a dressing-room mirror, like the aging Chaplin in "Limelight," forlornly rubbing makeup in his face - a tired, old clown stuck in a tired, old routine.
  30. I hope I'm not raining on Beasts of the Southern Wild's deluge to say it doesn't always live up to its pretensions. There's a lot of unshaped babble and draggy landscape shots, and the music, so lovely in small doses, is numbing when it's ladled over everything.

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