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 Triplets of Belleville
Lowest review score: 0 She Hate Me
Score distribution:
1,926 movie reviews
  1. Ali
    Ultimately, Ali is a far more complex creature than this movie allows for.
  2. Transcendence never quite succeeds at telling a story of scientific overreach. And it doesn’t really click as an action movie either. But as a human tragedy of man and monster, of beauty and beast, it has just enough genuine pathos that you wish it were better.
  3. Few films go as obviously and bewilderingly wrong as Chloe, but for the first hour it’s a potent little melodrama in which the smooth, super-controlled storytelling contains the theme of unruly obsession like a straitjacket.
  4. The story doesn’t feel dramatized. It feels pitched.
  5. A mixture of mild pleasures and deep disappointments.
  6. Somewhere in this mess, there might be a very good movie.
  7. Tusk is not a particularly good movie, but the vivid anxiety dream at its heart makes it one of the most personal films this writer-director has ever made.
  8. 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the inert directing of Len Wiseman (who helmed the first two films and has a producer credit here) has thankfully been replaced by Mans Marlind and Bjorn Stein, who seem to have a lot more verve and even some visual whimsy.
  9. The movie is a noble enterprise, and Downey is stupendous as usual, but Joe Wright's direction is too slick to elicit much feeling.
  10. Barely rates faint praise.
  11. Disposable, sporadically amusing.
  12. The inevitable showdown between these two paragons is something of a fizzle; there's too much over/under-acting going on.
  13. Streep and Jones make themselves small: She's chirpy; he's crusty. Incessant pop standards on the soundtrack supply the emotion the director can't. All that's missing are commercials for estrogen cream and erectile-dysfunction meds.
  14. At its best, it's a lively on-the-road chronicle of how to put an act together from scratch.
  15. 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.
  16. Some good gross-out inventiveness, but too heartfelt by half. Do we really need the Farrellys to champion inner beauty?
  17. The non-ending turns the whole movie into an elaborate tease, too creepy to dismiss, too shallow to justify its "ambiguities."
  18. The story is hell to follow--the flashbacks aren’t in chronological order--and the nonacting variable.
  19. The passing of the torch from Raimi to Alvarez is not a momentous occasion. In the end, who really cares? Five years from now, will you want to watch this bloody $14 million extravaganza or Raimi’s shoestring original, which was Amateur Hour elevated to pop art?
  20. Working in a mini-genre whose bones would appear to have been picked clean by the likes of Kevin Williamson and Wes Craven, Glosserman and Stieve find a few pints of fresh blood.
  21. Hateship Loveship is in no way a comedy, but Wiig's enormous presence threatens to make it so. She can't disappear into the void, so the drama onscreen becomes hard to take seriously.
  22. Villeneuve is trying like hell to elevate what turns out to be a dumb genre picture.
  23. Sets out to demonstrate that life is about more than having sex. Inadvertently -- I think -- it ends up showing us just the opposite. As if we didn't already know.
  24. Seems tailor-made for an intelligent thriller in the Graham Greene mode, but in Jewison's hands, the dragnet that closes in on Brossard is lackadaisical, and the larger political overtones--especially concerning the complicity of the Catholic church in aiding Nazis--are spelled out over and over.
  25. While the imagery in this retelling is impeccable, the story is strangely lifeless.
  26. Based on the popular video games, this is a movie with breathtakingly visceral racing scenes, and they are matched by a breathtakingly, breathtakingly terrible script.
  27. It's the only Almodóvar movie in which feeling, emotional or sexual, doesn't suffuse the imagery and hold the ramshackle melodrama together.
  28. 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.
  29. All this is diverting but also borderline dull.
  30. I'm not sure any other actress today could have pulled this off without seeming cheap or manipulative. The same, unfortunately, cannot be said for the movie itself, which often traffics in the manipulative.

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