New York Magazine (Vulture)'s Scores

For 2,563 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Triplets of Belleville
Lowest review score: 0 The Book of Henry
Score distribution:
2563 movie reviews
  1. Tag
    The doubt about what is real and what isn’t has permeated so much of the film that when things take a turn for the serious in the final act, we the audience can’t even quite believe what we’re seeing, until the credits roll and you shrug to yourself, “Huh, I guess it was for real.” That’s a weirdly muted note to end such an otherwise over-the-top — conceptually and physically — comedy.
  2. Ultimately, in all its artifice and haphazard but enthusiastic invention, Hotel Artemis makes me a bit nostalgic for French ’90s genre fare of Jean-Pierre Jeunet and Marc Caro and, of course, Luc Besson, embracing their daffiness and dreaminess with an somewhat counterintuitive, almost naïve lack of vanity.
  3. Brad Bird’s The Incredibles 2 is, much like its predecessor, delightful as an animated feature but really, really delightful as a superhero picture. It’s proof that someone (not anyone, mainly Bird) can make a Marvel-type movie that’s fleet and shapely, with action sequences rich in style rather than tumult.
  4. McKay does no editorializing in En el Séptimo Día. He’s a simple, graceful storyteller — so graceful that we don’t notice all the technique he brings to the task of making us see the world through José’s eyes.
  5. Nancy is a grim piece of work, but Choe’s empathy for her protagonist gives the film its distinctive texture — woebegone, with flickers of both hope and dread.
  6. Alex Strangelove is a little stylistically unambitious, nor is it terribly compelling as a romance — who Alex ends up with is ultimately beside the point.
  7. A wonderful breather from reality, from which you come back more conscious of — and dismayed by — the hate that more than ever runs the world.
  8. The movie plays like a strenuous imitation of Steven Spielberg instead of the real deal.
  9. I left Ocean’s 8 more convinced than ever that no amount of fierce, fantastic female ensembles can overcome the mediocrity of a dull male director.
  10. The experience of watching it, especially given its dreamlike unreality and head-scratching punnery (this is a deeply unfunny movie) is like listening to a doddering old man for whom every story — about art, politics, local goings on — ends up being about how every woman is an evil witch that can’t be trusted.
  11. Every scene adds another onion-skinlike layer, adding density and mass so slowly that you hardly notice the emotional weight of it all until it is suddenly overwhelming.
  12. Just as the “French Extreme” film Martyrs set a new standard for garish sadism, Hereditary raises the bar on emotional agony. If you want to see things you can never un-see and feel pain you can never un-feel, here’s the ultimate test.
  13. Adrift is enough of a boilerplate piece of survival drama that you know to expect those beats more or less coming on schedule, but Woodley makes it more emotionally satisfying than it would be otherwise.
  14. The agreeable looseness edges into a less agreeable limpness.
  15. A great and grimy little screw-turner of sci-fi schlock, the kind that they truly don’t make anymore, the kind that would make Carpenter and Cameron proud.
  16. It’s remarkable how engaging and light on its feet the director and cast are able to keep this subject matter, how much permission he gives them to f*ck up and try again.
  17. The bigger problem is that stupidity just isn’t a very interesting subject.
  18. It feels like the self-admittedly emotionally bottled Talley is ready to talk about all of it. It’s too bad his biographer is less so.
  19. It’s the 48- and 13-year-old Jenny sitting side by side, spent, against the wall of a women’s restroom, together in their helplessness, with little to show for their pain except this extraordinary movie.
  20. Ibiza doesn’t have the strength of wit and character to suffice as a hangout vacation movie, and it has zero idea how to be a romantic comedy, either. It’s not a movie, it’s Netflix.
  21. Two biographical documentaries in, and it still feels like we’re in need of a Houston film that digs into her music first, and the hows and whys of its enduring power.
  22. Its lead protagonists and their endless reserve of raw, bittersweet chemistry are Kahiu’s greatest asset.
  23. Unfortunately McEwan, adapting his own work, and first-time director Dominic Cooke, have a hard time rendering the touchy, interior subject matter cinematic; a potentially promising story of an emotional and physical impasse is flattened so much as to be offensive.
  24. There is so much fascinating, underplayed tension running through Burning.... I was a little let down, then, when Burning lost its steam in its second half.
  25. As it turns out, Book Club is only tangentially “about” the Fifty Shades trilogy, and that’s what makes it so smart.
  26. Like any conspiracy theorist, you sense that landing on an actually airtight unified theory would almost spoil the fun for Mitchell.
  27. The film’s most offensive qualities have nothing to do with its grotesque violence and displays of human mutilation, but its terminal navel-gazing and reductive, borderline harmful ideas about art.
  28. First Reformed is rigorously austere (as befits the author of Transcendental Style in Film), but every frame suggests a longing for a world elsewhere. It could be argued that it gets away from Schrader, who probably had to wrest the script from his own hands to begin shooting.
  29. Solo: A Star Wars Story hits all its marks except the one it needed to hit most: accounting for one of pop culture’s most cantankerous charismatics.
  30. We’ve reached superhero saturation point, and Deadpool 2 is less a satire of that condition than a symptom of it. It has zero suspense — it’s too hip, too meta, for suspense.

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