New York Magazine (Vulture)'s Scores

For 1,926 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Tale of The Princess Kaguya
Lowest review score: 0 She Hate Me
Score distribution:
1,926 movie reviews
  1. 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.
  2. 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.
  3. Pacific Rim made me marvel at the technology of movies, but never the magic of them.
  4. 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.
  5. 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.
  6. 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.
  7. There’s a ravishing aliveness to the spacious imagery; at least the clichés have room to roam free.
  8. A routine, stereotype-stuffed sitcom with pretensions.
  9. 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.
  10. Evocative as it is, The Road comes up short, not because it’s bleak but because it’s monotonous.
  11. Pleasant, if inane – helped along by a likable cast that’s clearly having fun.
  12. Mostly uninspired and insipid, but it rallies, and builds up enough comic steam by the end that you might find yourself amused.
  13. Burn After Reading is untranscendent, a little tired, the first Coen brothers picture on autopilot. In the words of the CIA superior, it’s "no biggie."
  14. It’s not a bad film, exactly, but it’s a jumbled, uncertain one, and it never quite makes a compelling case for itself.
  15. A wee Boy Scout would have done far better in the wilds. It’s tough to think "Waiting for Godot" when what you’re watching is closer to "Dumb & Dumber."
  16. 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.
  17. About Time is like a sermon that starts with a few good jokes and ends with tremulous exhortations to live, live.
  18. Directed by Bryan Singer in a break from his gayish superhero movies, it's a low-key procedural with a dollop of suspense--although perhaps not enough to make up for the foregone conclusion.
  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. It starts off with a flourish and winds up limp, like a rabbit pulled out of a hat that turns out to be dead.
  21. They make you wish Haggis would put away the Great Themes, the belabored dialogue, the forced narrative dynamics, and just figure out a way to scale down his scope and tell smaller stories. Maybe it’s not all as connected as he thinks.
  22. Another charmless Hollywood thriller.
  23. 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.
  24. The philosophic notions in I Love Huckabees are ultimately not much more than window dressing for some fancy slapstick.
  25. Neither terrible nor excellent; Hayek, who also co-produced, may have obsessed for years about this project, but the result is a fairly standard this-happened-and-that-happened biopic.
  26. Hereafter occupies some muzzy twilight zone, too woo-woo sentimental to be real, too limp to make for even a halfway decent ghost story.
  27. Roach is too stiff a director to give Ferrell room to romp. Bits like the one in which he's challenged to recite "The Lord's Prayer" needed extra zigs and zags instead of variations on the same joke. A looser director like Adam McKay (Step Brothers) might have created a happier climate for improv.
  28. Just because Cole Porter's biography was botched and airbrushed in "Night and Day," starring Cary Grant, doesn't mean De-Lovely, which is up-front about Porter's homosexuality, is a whole lot better.
  29. Too eager to please to be truly dislikable, and Roberts and Cusack have a fine rapport.
  30. Juicy, revved-up, semi-satisfying biopic.

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