New York Magazine (Vulture)'s Scores

For 1,652 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 1.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Spirited Away
Lowest review score: 0 Enough
Score distribution:
1,652 movie reviews
  1. Inception manages to be clunky and confusing on four separate levels of reality.
  2. In the golden turd that is Eat Pray Love, everyone helps Julia Roberts find herself so she can then experience true love.
  3. The sequel to an influential eighties motion picture is so loaded with characters and crosscurrents that we wonder why it isn't a thirteen-hour cable mini-series instead of an impacted two-hour mess. The film is like my portfolio: full of promise, with minuscule returns.
  4. With a million times more computing power at its disposal than its 1982 predecessor, Tron: Legacy still looks like Disco Night at the jai alai fronton.
  5. Love & Other Drugs is crazily uneven, jumping back and forth between jerk-off jokes and Parkinson's sufferers sharing their stories of hope. It's the sort of movie in which half the audience will be drying their eyes and the other half rolling them.
  6. Perhaps the late Blake Edwards could have found a balance between slapstick and psychodrama, but Ron Howard can't get the pacing right, and Allan Loeb's script is even wordier than the one he wrote for "Wall Street: Money Never Sleeps."
  7. The doughy Damon and aristocratic Blunt don't match up physically, and they never get any Hepburn-Tracy rhythms going that might create some current.
  8. An agreeable time-killer, but I'll bet a couple of clever kids could make a livelier movie with a Woody puppet and a Predator doll.
  9. Luc Besson's Jumping Frog Action Factory looks mighty lame in Colombiana.
  10. Every bit as dumb as August's "Conan the Barbarian" but awash in neon-lit nightscapes and existential dread, with killings so graphic that you can't entirely believe what you're gagging at.
  11. This is the first bad movie that has ever made me call for a sequel - to get it all right.
  12. It's tempting to praise The Ides of March as a realistic depiction of how low we've sunk. But that would mean accepting the second-rate writing and third-rate melodrama and incredible shrinking characters.
  13. It's too bad J. Edgar is so shapeless and turgid and ham-handed, so rich in bad lines and worse readings. Not DiCaprio, though.
  14. The only reason to put yourself through Guy Ritchie's overblown, inelegant Sherlock Holmes: Game of Shadows is to see Jared Harris, who plays Professor Moriarty, in a chilling low key.
    • 46 Metascore
    • 40 Critic Score
    For all the occasional grace of its high-flying derring-do, Red Tails barely feels like a movie. It's an uncertain hodgepodge of impulses and desires that never coheres enough to even crash and burn.
    • 37 Metascore
    • 40 Critic Score
    Wrath at least has the good sense to try to have a little fun with its mince-myth premise. It's better than Clash, but it's still not particularly good.
  15. The screenplay by Seth Grahame-Smith is witless and meandering, though the witlessness wouldn't matter so much if it moved, or the meandering if it were droll.
    • 28 Metascore
    • 40 Critic Score
    For a movie that deals with rape, criminality, and even racks up a real body count, Hick is whisper-thin and instantly forgettable.
    • 42 Metascore
    • 40 Critic Score
    Unfortunately, there's also a certain artificiality to the whole film, both visually and narratively.
  16. There isn't anything in this Total Recall to match the immortal Arnold Schwarzenegger send-offs, "See you at the pah-ty" and everyone's favorite alimony killer, "Consider this a divorce."
    • 43 Metascore
    • 40 Critic Score
    How odd then that a film all about human connections manages to make none of its own.
    • 48 Metascore
    • 40 Critic Score
    For all its feints at sensitivity, this isn't a movie, it's a machine, and it's hard not to be impressed - perhaps even awed - by the sheer ruthlessness with which it jerks the tears from your eyes. If anything, a real movie might just have gotten in the way.
    • 45 Metascore
    • 40 Critic Score
    It's a shame, though, that so many of The Possession's later scenes, particularly the exorcism stuff at the end, is mostly a grab bag of tired old scares. You might have convinced yourself, for a while at least, that this one was going to rise above the crowd.
  17. The screenwriters go out of their way to prepare you for Taken 3: Serbedzija has more sons, and Kim's virginity is getting harder and harder to preserve.
    • 40 Metascore
    • 40 Critic Score
    But the real problem behind Paranormal Activity 4 is that its entire raison d'ĂȘtre has gotten old; producer Oren Peli, who directed the first one, even included some gentle digs at the found-footage genre in his superior "Chernobyl Diaries," released earlier this year.
  18. The cast comes off like a third-rate stock company on the matinee after the night on which everyone got bombed on mescal (and possibly mescaline).
    • 45 Metascore
    • 40 Critic Score
    It's a perfect fortune cookie of a movie, full of bland life lessons for everybody; would that there were some drama or style in it somewhere along the way.
  19. Every unhappy movie is unhappy in its own way, and Joe Wright's Anna Karenina is as boldly original a miscalculation as any you're likely to see.
    • 36 Metascore
    • 40 Critic Score
    The movie's a smorgasbord of horror, and, ironically, that takes the teeth out of it. We're not really in this villain's world, because we don't know what his world is, or what he is, or what he's trying to even do. It's like a nightmare designed by someone who's heard a lot about nightmares but has never actually had one.
    • 55 Metascore
    • 40 Critic Score
    It collapses on all fronts, delivering hot-button platitudes and just-add-water character development.

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