New York Magazine (Vulture)'s Scores

For 1,744 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 War of the Worlds
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,744 movie reviews
  1. So Polley has gone meta — exuberantly, entertainingly, with all her heart.
  2. The movie’s singular acting triumph is Nathan Fillion’s Constable Dogberry, one of Shakespeare’s simpler buffoons made poetic by understatement. Fillion speaks softly, with ­uninflected sincerity, a brilliant departure from the standard gregarious-­hambone Dogberry. It’s his insularity — his imperviousness to the interjections of more observant people — that makes him such a touchingly credible clown.
  3. Downey found a way to channel his working-class audience’s anger against liberal shibboleths and not incidentally take down both his dad and his surrogate dad — Teddy ­Kennedy. It’s a ­riveting Oedipal tragedy.
  4. The movie is gorgeous, mesmerizing, poetic; the lyricism actually heightened by harsh jets of gore.
  5. The resulting film is bizarre to the point of ­trippiness, yet it’s one of the most lucid portraits of evil I’ve ever seen.
  6. Hot-dog Hong Kong action stylist Johnnie To has never achieved the cult status of John Woo in this country, but his explosively entertaining — and startlingly splattery — Drug War should win him new fans.
  7. In short, I'd be the happiest person in the world if Wong announced there was a four-hour cut of this film somewhere. For now, neither version is perfect, but they’re both so beautiful, so heartbreaking, that the question may be moot. Whatever its flaws, seeing The Grandmaster theatrically, in any version, should be a sacrament for any true film lover — a spiritual duty.
  8. In his late seventies, Robert Redford has never held the camera as magnificently as he does in the survival-at-sea thriller All Is Lost.
  9. The movie goes on for three hours without an emotional letup — it’s finally overwhelming.
  10. The movie is a triumph of an especially satisfying kind. It arrives at a kind of gnarled grace that’s true to this sorry old man and the family he let down in so many ways.
  11. The Great Beauty is a subtly daring cinematic high-wire act — an entire film built around one character’s unrealized, unspecified yearning. And it might just be the most unforgettable film of the year.
  12. Joel and Ethan Coen’s Inside Llewyn Davis is an exquisitely crafted tale of woe with heartfelt early-sixties folk music — and an overarching snottiness.
  13. Her
    In Her, Jonze transforms his music-video aesthetic into something magically personal. The montages — silent, flickering inserts of Theodore and his ex-wife recollected in tranquility — are sublime.
  14. With her swanlike neck and ever-flushing complexion, Felicity Jones has a perfect nineteenth-century look, but there’s something forward and modern about her physiognomy, her huge eyes and strong nose and overbite. As she gazes down in enforced modesty, you feel her soul about to burst. The performance is startlingly vivid.
  15. The mystery may be resolved, but the suspense and uncertainty remain. And so, Guiraudie ends his film on a cold, almost cruel note of existential solitude that just might, if you let it, break your heart.
  16. Wes Anderson’s latest cinematic styling is The Grand Budapest Hotel, an exquisitely calibrated, deadpan-comic miniature that expands in the mind and becomes richer and more tragic.
  17. I’m not crying “masterpiece” here. Locke is too contained, too well-carpentered, too self-consciously “classical.” But tours don’t come much more forceful. Once you’ve taken this 90-odd-minute drive with Tom Hardy, you’ll never forget his face.
  18. Gregory and Demme have turned A Master Builder into (pardon my invoking the name of a Strindberg work) a dream play, and have made it once more madly, bitingly, chillingly alive.
  19. If Penn really lets these actors sing, his watchful camera also knows how to respect their silences.
  20. Unsatisfying at a very high level. It fritters away more than most movies ever offer up.
  21. There's a timelessness, an immanence to what she (Varda) shows us.
  22. What she (Ullmann) does achieve is a couple of scenes of lacerating power.
  23. The Korean director im Kwon-Taek has made more than 90 films since his first in 1962, and perhaps this explains why his latest, Chunhyang, seems so effortless and masterly. Based on a highly popular eighteenth-century Korean folktale, it's a movie that, stylistically, mixes the traditional with the avant-garde; the narrative may be ritualistic, but there's a let's-try-it-on-for-size friskiness to the filmmaking.
  24. The first full-scale documentary about the history of those years, and it lays out lucidly the involvement of the Communist Party in the young men's defense and the ways in which the trials, against the backdrop of the Depression, replayed the murderous quarrels of the Civil War all over again.
  25. Terence Davies's The House of Mirth is a rigorously elegant adaptation of the Edith Wharton novel, and unlike in some other Davies movies, the rigor here doesn't turn into rigor mortis.... This is dourness of a degree you won't find in Wharton, but in its own shadowed terms the film is a triumph.
  26. It's worth seeing, though, not only for its occasional moments of breathtaking beauty and sadness but also because its very rarity demands it.
  27. The film starts out as a freewheeling farce and turns into a pitch-black burlesque with surprising depths of feeling.
  28. Has a poignant undertone: We may feel we already know in our bones just how suffocating this culture is; but the people who made this movie seem to be discovering each fresh horror for the first time. It's like watching a virgin sacrifice.
  29. There's a new sensibility at work here, wry yet lushly disaffected, and it will be worth watching what Martel does next.
  30. By the end of the movie, the characters are numbed, while the audience is sensitized to the mayhem to an almost unbearable degree.

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