New York Magazine (Vulture)'s Scores

For 1,652 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 1.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Lord of the Rings: The Return of the King
Lowest review score: 0 Movie 43
Score distribution:
1,652 movie reviews
  1. A marvelous literary thriller that gets at the way books can stay with people forever.
  2. Smashing for much of the way; as a piece of fantasy moviemaking, franchise-style, it beats the bejesus out of "Harry Potter."
  3. An elaborate techno-heist thriller, The Italian Job features some spectacular chase scenes, but for a change, the people doing the chasing are also worth watching.
  4. A startling achievement, but its lack of psychological dimension prevents it from making much human contact with us. It ends where it begins: in a state of shock.
  5. If Nine Queens were a great film, instead of just a very good one, this rottenness would be so pervasive that it would burst the bounds of the plot; it would make us shudder.
  6. Lock, Stock and Two Smoking Barrels is in the scabrous mode, and I like it better than "Trainspotting" -- it doesn't pretend its shenanigans are revolutionary.
  7. The result is perhaps the most elegantly shot, and certainly the most disturbing, of the recent fantasy films.
  8. It elevates female sacrifice into an aesthetic. The movie isn't about suffering, really. It's about how you look when you suffer, how you dress up for it. Style is all.
  9. If all three of the women’s lives had come across with equal weight and artistry, the film, which glides back and forth among them, might have approached the symphonic. But only the Streep section truly inspires the kind of awe and terror that the film as a whole strives for.
  10. Berri is very good at bringing out his characters' emotional contradictions so that we seem to be discovering them right along with Jacques and Laura.
  11. Marvelously funny.
  12. Nolan sustains an arty note of existential dread that probably will work better for noir-steeped film critics and overserious philosophy grad students than for general audiences, but he brings off a few brisk bravura moments.
  13. The law of commerce worked this time around: One terrific thrill ride has begotten another.
  14. The emotional honesty of this movie rescues it from sentimentality. To Be and to Have is about more than a dedicated teacher and his pupils; it’s about how difficult and exhilarating it is to grow into an adult.
  15. It all adds up to a searing portrait of social misery.
  16. Hedges keeps everything in balance: The sadness and frivolity all seem to be part of the same emotional continuum. He’s made a lingeringly poignant little movie.
  17. My kind of Christmas movie--profane, subversive, and swarming with scuzzballs.
  18. The performances are amazing.
  19. Theron breaks through with a ferocious performance--a real career-changer.
  20. Rarely has there been so obscenely precise a depiction of ravaged innocence. This young girl has nothing to live for--and an entire life ahead of her in which to live it.
  21. The hurt and rage flying back and forth have primal power, like Russian-flavored Eugene O'Neill. It's rare for a movie to work as effectively as this one does on such parallel tracks.
  22. The film is saying that, left to their own devices, all men would devolve into a morass of monastic grouches. Kitchen Stories is a prime piece of comic anthropology.
  23. Audiences for this film should have no such qualms: When the camel lolls his jaws at dinnertime, or sways his Bactrian bulk, you may decide you've never seen anything quite so hilarious -- or magnificent.
  24. In Collateral Damages, we are witness to heroism, all right, but it's a heroism unsullied by sentimentality.
  25. For most of Eternal Sunshine, I found myself fighting off Gondry's hyperactive intrusions in order to get at the melancholia at its core. Fortunately, the idea behind this movie is so richly suggestive that it carries you past Gondry's image clutter.
    • 83 Metascore
    • 80 Critic Score
    The best movie ever made about a man of God -- which is to say, the most honest and morally the most ambiguous.
  26. It’s a bracing antidote to the usual “Beautiful Mind”–style Hollywoodization of mental illness.
  27. Téchiné gets deep inside the dread and exhilaration of people who have lost their bearings so suddenly they don't even have the luxury of grief.
  28. It's the barbs, and not the inspirationalism, that work best in this movie.
  29. What gives Los Angeles Plays Itself its extraordinary density is the way Andersen transforms a cliché into a metaphysical truth that encompasses far more than L.A.

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