New York Magazine (Vulture)'s Scores

For 1,891 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 Late Marriage
Lowest review score: 0 Only God Forgives
Score distribution:
1,891 movie reviews
  1. All this is diverting but also borderline dull.
  2. 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.
  3. So relentlessly giddy and hyperactive that it doesn’t really need a movie review--it needs a prescription.
  4. The action is bludgeoning. When Max gets pummeled by fists and lethal objects, we get pummeled by light and noise and rock-'em-sock-'em editing. No shrimp, though. As a narrative, "District 9" wasn't particularly original, either — in the end it was a standard conversion melodrama. But everything is better with shrimp.
  5. The whole movie is like an NRA wet dream, with Robert Duvall as a crusty gun-range owner who pitches in to shoot bad guys. Jack Reacher already feels as if it belongs to another era.
  6. More often McNamara comes across as Exhibit A in Morris's latest metaphysical creepshow.
  7. Some of that fun is infectious. For a while. Maybe 45 minutes. But when actors look as if they’re having a better time than you are, the buzz wears off fast. You turn into a wallflower at an especially obnoxious party.
  8. Let’s Be Cops has its moments, but it in no way distinguishes itself.
  9. If the staging were as witty as the plotting, Quantum of Solace might have been a corker like "Casino Royale." But when the action starts, art-house-refugee director Marc Forster (Monster’s Ball) mashes together close-ups in the manner of "The Dark Knight," and every big set piece is borderline incoherent.
  10. It’s just another example of art-house hokey-pokey. Amazingly, this film won both the Palme d’Or and Best Director Award at Cannes, beating out, among others, "Mystic River."
  11. 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.
  12. Watching this Pelham--a money job from its conception--you can believe that there's no other motivation on Earth.
  13. 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.
  14. 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.
  15. It’s a case of diminishing returns: gorgeous, occasionally evocative, but, in the end, mostly dull.
  16. Novelist-turned-director Leigh's dryly efficient style is perched between the matter-of-fact and the impossibly arty.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. It starts to feel less like a thriller than an actors’ workshop.
  29. 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.

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