New York Magazine (Vulture)'s Scores

For 1,744 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 Fruitvale Station
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,744 movie reviews
  1. A movie like Hart's War, for all its realistic trappings, is essentially escapism. And yet it inadvertently pushes the 9/11 button. The real world is going to intrude a lot this year at the movies. Better get used to it.
  2. On the reasonable assumption that no movie featuring an Elvis impersonator can be wholly bad, I was prepared for a high old time at 3000 Miles to Graceland, which exhibits a plenitude of Elvi. The exhibition does not last very long, however. Less than a third of the way through, the filmmakers jettison the premise and trash their own movie.
  3. Some of this stuff is uncomfortably close to minstrelsy. Bad Company closes on a patriotic note in a brief scene that pays heartfelt tribute to the terrorist-thwarting sacrifices of the CIA. Timing is everything, I guess.
  4. In the end, Powell thanks his doctor for sharing the journey, but audiences who sit through this zoologically daft back-to-nature clinker may feel far less charitable.
    • 50 Metascore
    • 40 Critic Score
    Devoured by its own mechanical ostentation, generates no emotional involvement, and has a smart-ass, infinitely less powerful ending than the original.
  5. Stoppard and his director, Michael Apted, must be aware of how dry their film is, because periodically they work in little thriller divertimenti -- car chases and such -- that only serve to point up how un-thrilling everything is.
  6. The thinness of the movie, which is what is intermittently enjoyable about it, is at odds with its sob-sister pretensions.
  7. An arty sleepwalk. Thornton has developed a style of acting that goes beyond minimal into the near nonexistent.
  8. The necklace in this movie was crafted by the elite London jewelers Asprey and Gerrard -- out of cubic-zirconium stones. That's just about perfect. The Affair of the Necklace is a cubic-zirconium epic.
  9. Twisted and outrageous but ultimately artificial. Albert Brooks did this art-reality thing a lot better years ago in "Real Life," his takeoff on PBS's "An American Family," and was sidesplitting besides.
  10. Together, Lopez and Caviezel make quite a pair. Sorrowful yet hip, they seem to be inventing a new mood: designer melancholia.
  11. There's not much here for a great actor to sink his teeth into once, let alone twice.
  12. As murderous amusements go, the film is mildly diverting, but it's like a faint facsimile of a Claude Chabrol film.
  13. Glenconner is such a class-conscious caricature that he doesn't need the filmmakers to do him in; he does a sterling job all by himself.
  14. Sets up a cast -- and then proceeds to knock them down like ducks in a shooting gallery.
  15. This unrated documentary, which contains no hard-core shots, could have used more hog and less hedge, if you catch my drift: When Jeremy drones on about his quest to be cast in mainstream movies, dullness sets in.
  16. Thank God for Barrymore: When Beverly's water breaks and she looks down at her feet and cries, "This is so gross," you know how good this actress can be, and how good this movie might have been.
  17. Another in a long line of middling movies for Travolta, who must have been so stunned to regain his stardom with "Pulp Fiction" that he hasn't stopped working since.
  18. This is low-grade satire. The shocks to the system in Buffalo Soldiers are nothing more than cheap thrills.
  19. The Coens have a true feeling for the sleek surfaces of the genre, but they don't connect with its sordid, sexy undercurrent; that's why Crane is made to seem so passive.
  20. A glossy, depthless melodrama.
  21. For all its triteness, Sheridan's sentimentality has its poignancy: This adolescent boy is all set up to live out a halcyon life he'll never have.
  22. Parker "opens up" a play that was perfectly wonderful closed down. Wilde subtitled his masterpiece "A Trivial Comedy for Serious People." This movie seems intent on being a trivial comedy for trivial people.
  23. Compounds the problems of its predecessor, "Analyze This," while duplicating almost none of its humor.
  24. Why do filmmakers persist in remaking films that were already great to begin with? Why not instead remake bad movies that had terrific premises?
  25. "In the Company of Men," "Your Friends & Neighbors," and "The Shape of Things," at least held you. Possession piddles away as you're watching it.
  26. People who see Sinbad for its star power--a big selling point in the movie’s marketing campaign--are being oversold.
  27. Life imitates art, except there’s precious little of either here.
  28. I wish Harry Potter and the Sorcerer's Stone had developed more of a life of its own instead of being essentially a flat visualization of the book.
  29. Brody doesn’t deserve this movie.

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