New York Magazine (Vulture)'s Scores

For 1,746 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 WALL-E
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,746 movie reviews
  1. 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.
  2. Brody doesn’t deserve this movie.
  3. It’s all strenuously camp.
  4. Schrader really isn't interested in Crane except as the straw man for his moral lessons about sin and sexuality and the nature of celebrity. Auto Focus is the perfect capper to Crane's career: Even in a movie about himself, he remains minor.
  5. Lynch needs to renew himself with an influx of the deep feeling he has for people, for outcasts, and lay off the cretins and hobgoblins and zombies for a while. Mulholland Drive is the product of David Lynch, Inc.
  6. Driven is recommended only to those gentle souls who want to know what it looks like to crash into a wall at 200 mph.
  7. Williams once knew how to be very still and yet allow us to see the plangent human being underneath. In One Hour Photo, Sy's scary ordinariness is a species of acting stunt. There's no there there.
  8. I found myself staring at his new one, In Praise of Love (Éloge de l'Amour), in a state of rapt annoyance and befuddlement. It's constructed in two sections, which are far more fractured and opaque than the simple description I will here try to set out.
  9. As the cowboy-hatted wild man who cooks up speed in his motel-room lab, Rourke, who looks at home in his tattoos, is mesmerizingly grungy. He strikes a rare note of authenticity in this otherwise phony fandango.
  10. It's difficult to work up a strong case of the heebie-jeebies when you keep getting thrown out of the movie by all the atrocious acting.
  11. The problem with all this don't-blink-or-you'll-miss-it dramaturgy is that ultimately everything is sacrificed for effect. When you're dealing, as Ritchie is, with explosions of real violence and viciousness, the hyperslick technique can't accommodate the real pain that comes with the territory, or ought to. What we're left with is a cackling amorality -- not a philosophy of life, just a posture.
  12. O'Sullivan's movie could easily have been made 60 years ago. This is not intended as a compliment.
  13. Spirit's narration comes to us courtesy of Matt Damon, who, having played a horse's ass in some of his earlier movies, perhaps thought it wise to inhabit the entire nag this time around.
  14. It's like being trapped inside a fever dream of Oscar-night production numbers.
  15. Mamet is so in love with the con that he's conned himself.
  16. Director Barbet Schroeder is too elegant an artist for this material, which veers between routine cop-movie conventions and high-toned malarkey that seems a lot closer to Dungeons & Dragons than to "Thus Spoke Zarathustra."
  17. Resembles a full-length promo for itself. The action, virtually nonstop, is a series of can-you-top-this? set pieces.
  18. Although that pairing (Martin/Latifah) alone may be enough to make this movie a hit, the material is thin and pandering and almost criminally negligent in bypassing opportunities for humor.
  19. With Joe Johnston directing instead of Spielberg, who executive-produces, and a scrum of screenwriters, none named Crichton, the franchise suffers some negligence.
  20. The only saving grace is that Caine and Duvall don’t overdo the southern-coot stuff.
  21. The cast…is first-rate, but each is given a single note to play.
  22. A weepie for audiences under the (mistaken) impression that independent movies are always more emotionally honest than Hollywood movies.
  23. Campion is dabbling in several different types of movie here: police procedural, film noir, romantic melodrama, sex fantasia. None really succeeds.
  24. This final installment jettisons most of the Zen mumbo-jumbo from the first two movies in favor of lots of very loud explosions. Since I didn’t take the mumbo-jumbo seriously to begin with, my letdown was minor, but aficionados may feel like they’ve been played for suckers.
  25. Director Mike Newell and screenwriters Lawrence Konner and Mark Rosenthal should have uncorseted their own imaginations. The girls on display are all tightly stereotyped.
  26. It isn't just the violence that is overplayed. There is so much creepy-Gothic Sturm und Drang in The Passion that at times it seems as if Clive Barker should get credit for the story along with Matthew, Mark, Luke, and John.
  27. It’s tough to be Tracy and Hepburn, let alone Doris Day and Rock Hudson, when you're trying to get your mouth around lines that wouldn't pass muster on a UPN sitcom.
    • 43 Metascore
    • 40 Critic Score
    Palmetto is an unconvincing, paint-by-numbers pass at American noir by the usually ambitious German director Volker Schlondorff (The Tin Drum).
  28. The film is a stodgy snooze, and Theron, who is about as expressive here as a porcelain doll, lacks all believability--she's followed her best performance (in Monster) with her worst.
  29. Maudlin.

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