New York Magazine (Vulture)'s Scores

For 2,087 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% 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 The Triplets of Belleville
Lowest review score: 0 Fantastic Four
Score distribution:
2,087 movie reviews
  1. For Sabotage, as good as it is in its first half, can’t keep it together.
  2. The Last Samurai is an idyll in which the savageries of existence are transcended by spiritual devotion. That’s a beautiful dream, and it gives the film a deep pleasingness, but the fullness of life and its blackest ambiguities are sacrificed.
  3. It’s powerful, all right, and Downey’s performance is lacerating, but missing is any sense of lyricism in Dark’s hallucinatory yearnings. Without that leap of transcendence, this new Singing Detective doesn’t sing.
  4. It’s Aronofsky’s least personal work. So you get a fat dose of conventional melodrama with your Old Testament: It’s the antediluvian "Gladiator."
  5. When the film shifts to Shanghai and the club Casablanca, there's too much lustrous-hued loitering and too few martial­-arts set pieces.
  6. City of Men is clunky and often contrived, but there’s something haunting about fatherless boys in a blighted place fumbling to teach themselves what it means to be a man.
  7. It's plotless. It fits no category -- "docudrama tone poem" probably comes closest.
  8. Movies are the lesser medium for Fey and Carell. They’re the stars of two relatively sophisticated, media-savvy network sitcoms, yet their big-screen comedies are retro.
  9. If the filmmakers had made a point of satirizing the new makeover culture in ways that went beyond camp jibes at décor and suburbia, they might have come up with a classic.
  10. CQ
    Not everything in this ambitious comic escapade works, but Coppola, along with his sister, Sofia, is a real filmmaker. It must be in the genes.
  11. There's something a bit condescending about how the movie devolves into a falling-out-between-friends scenario, as if the only way our attention could be held by this subculture were if it was presented to us sentimentally.
  12. This could be the premise of a zany comedy, but the mood of The Future is, from the outset, defeatist - annoyingly defeatist, to be frank.
  13. There’s a powerful austerity to Manglehorn the man’s tale that Manglehorn the film itself — well acted and touching though it often is — doesn’t quite match.
  14. Inspires the requisite shock and awe, but a little goes a long way. About the fifth time I saw someone slip-sliding away from a 60-foot wave, I longed to hear someone on the soundtrack say, “That guy is really nuts.”
  15. Sutton finds the lyrical tension in torpor; he shows how Willis’s artistic vacuum isn’t a passive thing, how it eats into him, how it even permeates the natural world.
  16. Idlewild is diverting enough to suggest all the unexplored avenues in movie musicals.
  17. Watching Ali and Cole (and, of course, Stewart and Maadi), we find ourselves wishing that they would genuinely get the chance to better understand each other. Do they, by the end? We’re not sure. On that score, Camp X-Ray remains admirably open-ended.
  18. It's all been done before, and better.
  19. The filmmakers betray the essentially childlike appeal of Shrek by piling up all these too-hip Hollywood references aimed at adults. It's not just kids who will feel cheated.
  20. As Li’l Quinquin seesaws between the horrific and the ridiculous, between the playful and profound, between control and chaos, we may find ourselves both frustrated and riveted. Something tells me Bruno Dumont wouldn’t want it any other way.
  21. An art piece in which everything seems to be a metaphor for something else, and as pleasing as it is to watch, it's too pretentious by half.
  22. Channing's formidably good -- a career woman in extremis -- but the movie, which was written and directed by Patrick Stettner, otherwise unfortunately resembles a product of the Neil LaBute Finishing School.
  23. Blue Ruin is more artful and evocative than any recent revenge picture, but it’s still drivel.
  24. Some first-rate animation and some second-rate storytelling.
  25. The movie is moderately enjoyable, but it also makes you feel conned: It offers up a disturbing protagonist and then substitutes cuteness for character.
  26. The thing is scary as hell when it's all creaks and thumps and doors swinging open. Then come the explanations, the special effects, and the inevitable feeling of been-there-been-­bombarded-by-that.
  27. A montage-happy, occasionally unpleasant film that’s still strangely watchable, The Other Woman is almost saved by a cast that’s … well, likable isn’t quite the word.
  28. For most of this movie, things are exactly what they seem--mediocre.
    • New York Magazine (Vulture)
  29. There is something sneakily gratifying about all this: Not since the days of "Earthquake" have Hollywood producers so indulged their fantasies of trashing the town.
  30. In patches it's agreeably lurid, but it's otherwise ho-hum.

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