New York Magazine (Vulture)'s Scores

For 1,874 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Happy Feet
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,874 movie reviews
  1. Gomorrah isn't memorable. The structure feels random, and the characters remain at arm's length. Next to HBO's "The Wire," which depicted an enormous financial ladder and also brought to life the characters on every rung, the movie is small potatoes: excellent journalism, so-so art.
    • 52 Metascore
    • 50 Critic Score
    I can't think of another movie that starts so brilliantly and ends so miserably as this one.
  2. Watching this Pelham--a money job from its conception--you can believe that there's no other motivation on Earth.
  3. When he's playing a relatively normal guy ringed by eccentrics, as in "There's Something About Mary" and "Meet the Parents," Stiller can be flat-out funny. In Zoolander, he's just one nutso among many, and he cancels himself out.
  4. Although it's shot in lovely, dusty shades of brown with splashes of Coca-Cola red, John Hillcoat's Lawless is dead weight: listlessly classical and then bludgeoning.
  5. It’s a case of diminishing returns: gorgeous, occasionally evocative, but, in the end, mostly dull.
  6. Novelist-turned-director Leigh's dryly efficient style is perched between the matter-of-fact and the impossibly arty.
  7. Their doomy romance is supposed to be fated, but it just seems sloggy, certainly not the stuff of myth. A good comedy could be made from this same premise.
  8. It may be that Merchant Ivory need the armature of the past in order to create a sense of the present. Le Divorce is mustier than any of their movies set back in time.
  9. With all the narration and fits of slow motion, the movie seems like the work of a nervous chain-smoker. It lacks concentration--and with it, the potential for rapture.
  10. Hopelessly amateurish, the troupe is saved by a remarkably pretty young blonde called Douce with a sweet soprano to match her angel face. The gifted, unknown actress-singer who plays her, Nora Arnezeder, also saves the movie, which would otherwise blur into a mass of droopy, mustached, big-honkered Gallic character actors.
  11. 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.
  12. The sequel, Planes: Fire and Rescue, is still a DisneyToon production, but it does aim higher, with a visual zip that was lacking from the first. It is, in almost all respects, a better movie. It’s still not particularly good, though.
  13. 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.
  14. 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.
  15. The movie substitutes milky, washed-out color and funereal music for insight. The murders are purposely un-fluid: When you see Mohammad or Malvo take a shot, you don’t see the impact of the bullet. When you see the victim struck, you don’t see the shooter.
  16. It will resonate with anyone who has ever buried a loved one and struggled to reconcile the myriad emotions--grief, anger, helplessness. Which is to say, everyone. And yet out of this premise comes glop. Departures needed a little more work in the morgue--like cutting to the bone.
  17. Fuqua deliberately downplays the fantastical in King Arthur, but the gritty faux realism wears itself out quickly. You've seen one lancing, you've seen them all.
  18. It starts to feel less like a thriller than an actors’ workshop.
  19. It's good enough that you forget how much better Brian De Palma could do it. The rest is a slow road to nowhere, less clunky than "The Interpreter" but bogged down by its own cynicism.
  20. Works only in spurts.
  21. Kill Your Darlings wants to be a young man’s movie, but it’s all “cinema du papa,” as the French New Wave used to call it. The philosophical disconnect is downright cosmic.
  22. 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.
    • 56 Metascore
    • 50 Critic Score
    If more can't be found in Bond than this, I wouldn't object, in principle, to that tuxedo's being hung up in the closet for good.
  23. Hit and miss, but its tone of lyric melancholy is remarkably sustained.
  24. It's not a particularly complex (or pleasant) film, but along the way you get a glimpse of the kinds of neighborhoods that give birth to anti-Western fanatics.
  25. I know I'm going to bring down the room by saying I think it's just okay. Well, Jennifer Hudson is more than okay.
  26. This is the first big-studio action picture with some of the disgusted, bloody nihilism of the post-Vietnam era.
  27. Without a character, he’s (Pitt) back to that soft, appraising, Robert Redford Jr. stare, his mouth half open as if he’s about to speak but plainly with nothing on his mind apart from, “This is what a movie star looks like without any lines.” The ghouls are having deeper thoughts.
  28. The highest-gloss revenge porn imaginable. It’s hard to believe that so much visual elegance has been brought to bear on material so ugly, and yet the disjunction is intentional, and the film is all of a piece.

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