New York Magazine (Vulture)'s Scores

For 2,044 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 Let the Fire Burn
Lowest review score: 0 Enough
Score distribution:
2,044 movie reviews
    • 50 Metascore
    • 90 Critic Score
    Andrew Davis, the director of "The Fugitive," one of the best thrillers of recent years, has added pace and heat and explicit sexuality to the material without whipping up phony excitement.
  1. Satrapi’s parents ship her off to a French school in Vienna, but she’s rudderless, ungrounded. She’s drawn back to a devastated Tehran, where she can’t design a life, either. This great film, by Satrapi and Vincent Paronnaud, is that life, designed. It freed her mind; it frees ours.
  2. A movie that really zips along; it offers some of the same pleasures as the silent slapstick comedies, particularly the Keaton films, with their sense of how sheer velocity carries its own wit.
  3. Burton, bless him, constricts the space and concentrates the melodrama; he finds the perfect balance between the funereal and the ferocious. Above all, he treasures these ghouls: He digs both their bloodlust and their melancholy.
  4. Chris & Don is the rarest of documentaries: a realistic portrait of the human spirit.
  5. Whatever his foibles, An Honest Liar depicts a great American original — a man who has taught a generation of scientists, magicians, and even certain film critics that our senses must be trained to detect the smell of bullshit.
  6. Anyone who loves live-wire acting will gasp in awe at Blanchett, more emotionally exposed than ever, and, most of all, at Dame Judi, who’s so electric she makes you quiver.
  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. 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.
  9. It's a truly prodigious piece of work, resembling a career summation far more than a maiden voyage.
  10. 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.
  11. A film that transcends its obvious timeliness to say some elemental things about personal loyalty and institutional betrayal.
  12. 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.
  13. What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.
  14. The movie is gorgeous, mesmerizing, poetic; the lyricism actually heightened by harsh jets of gore.
  15. Sheridan’s actors work with their intellects fully engaged--and they engage us on levels we barely knew we had.
  16. It’s that rarest of psychological thrillers: one that actually lives up to the words “psychological thriller.”
  17. Nichols has a genius for making landscapes and everyday objects resonate like crazy, for nailing the texture of dread.
    • 72 Metascore
    • 90 Critic Score
    Antz, with its deadpan witticisms, its heart-stopping shifts of perspective, is completely entertaining, a kids' movie that will leave grown-ups quoting the best lines to one another.
  18. In the best moments of Howl's Moving Castle and in his extraordinary body of work, Miyazaki teaches his viewers more valuable lessons.
  19. Moodysson captures exactly the preening narcissism and gumption of these frazzled would-be revolutionaries trying to wriggle out of their bourgeois straitjackets.
  20. The jamboree is beautifully shot and directed, by Chris Menges and David Leland respectively, and there is a haunting touch: the presence of George’s son, Dhani, on guitar, looking near-identical to his dad in his twenties.
  21. No filmmaker I know has gotten as close to a professional athlete as James Toback gets to Mike Tyson in his new documentary.
  22. 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.
  23. One of the very best American independent films you’ll see this year, John Magary’s The Mend, takes what could have easily been a mundane tale of brotherly dysfunction and turns it into something abstract and electrifying.
    • 81 Metascore
    • 90 Critic Score
    A brilliant, disturbing, but unstable and half-crazy piece of work.
  24. In The Flight of the Red Balloon, the great Taiwanese filmmaker Hou Hsiao Hsien uses Albert Lamorisse’s 1956 masterpiece "The Red Balloon" as a springboard for his own masterpiece--a distinctively modern and allusive one, yet so tender and plaintive that you understand what Hou is up to on a preconscious level.
  25. The Kidman in Rabbit Hole is a revelation.
  26. The Martian is shot, designed, computer-generated, and scripted on a level that makes most films of its ilk look slipshod. Scott and writer Drew Goddard aren’t trying to make an “important” sci-fi movie like Interstellar. They aim lower but blow past their marks.
  27. What keeps Sicario from cynicism is the nature and depth of Villeneuve’s gaze, not childishly wide-eyed but capable still of feeling pain. He’s a terrific director. You know that if his heroine, Alice, gets out of Cartel-land alive, she might spend a few months in an asylum, but she’ll be back, hell-bent on seizing the foreground.

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