New York Magazine (Vulture)'s Scores

For 1,979 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Time Out
Lowest review score: 0 Enough
Score distribution:
1,979 movie reviews
  1. Evocative, gorgeous, occasionally maddening film.
  2. Ultimately, what comes through most forcefully in The Hundred-Foot Journey is the longing of the immigrant, the overwhelming push-pull between the need to belong and the need to assert one’s own identity.
  3. I like the movie, though. It forced me to rethink the way sexual desire saturates everything, along with extreme vulnerability of children.
  4. A.C.O.D. is reasonably pleasant and therapeutic and antiseptic and you just wish somebody would bring a chandelier down on somebody else at some point.
  5. Jolie gets the dirty/ennobling job done. If the narrative is finally unsatisfying, it’s because the last vital chapter — the way in which Zamperini was able to have a life after years of unspeakable cruelty and the dashing of his Olympic hopes — is signaled in a couple of title cards before the closing credits. Unbroken proves that Zamperini could take it and make it — but make what of it?
  6. There is in The Mother a rich understanding of where old age takes you. Along with the myth that seniors don't have sex drives, the film dispels a larger one: that the years bring wisdom.
  7. Ken Hixon's script contrives a lot of mutual-healing set pieces and then sadly but shrewdly aborts them: That makes the drama more Chekhovian than "quite real."
  8. Boulevard is a sad, hesitant little movie about a sad, hesitant little man. That may be a far cry from the Robin Williams roles we knew and loved, but it’s not a bad one on which to go out.
  9. As in his pithy, tuneful songs-many written from different perspectives, in different styles-Merritt is committed to stylizing his misery instead of boring you with it.
  10. Danny Huston is screamingly funny as the alternately finicky and savage Head Ghoul--he’s like something spewed forth from the bowels of the Politburo. The problem is structural.
  11. Were it not for these performances (Blanchett, Ribisi, Swank, Reeves), The Gift would be fairly negligible.
  12. The Heat is kind of a mess, but it’s a funny mess.
  13. Bachelorette has some big gaps, and it isn't what you'd call fun - it's not "Bridesmaids 2." But lovely women doing genuinely ugly things makes for a potent combination.
  14. I don’t mind the movie’s retro-ness, but I wish Mostow didn't take pulp so seriously.
  15. If Life of Crime transcends its lightheartedness to actually make us care for what happens to its characters, it doesn’t quite transcend its own haphazard, impoverished story.
  16. I realize that Fosse's dark sizzle might seem a bit dated today, but surely something halfway snazzy could have been devised for this movie. It's toothless.
  17. The film is too wan and distanced to sweep you up, but it holds you.
  18. It’s the difference between artistry and knowingness. About Schmidt doesn’t bring us deeply into the lives of its people because it’s too busy trying to feel superior to them.
  19. Extraordinary Measures has a soppy piano-and-strings score, but the primal fear of loss sharpens every scene.
  20. Demme’s Manchurian Candidate is far from a disgrace, but it's not freewheeling enough, not strange enough to make sense of our gathering dread.
  21. Kick-Ass 2, a movie that, for all its predictable sequel-ness, manages to conjure up pretty much the same dark magic that the earlier film did, albeit with more troubling results. Believe it or not, Kick-Ass 2 is even more of a provocation than the first Kick-Ass.
  22. Depressing, disgusting, and dated, Edmond is worth braving to experience America’s best-known serious playwright at his most gruesomely undiluted.
  23. It's not bad, exactly; the songs are catchy, the cameos are okay, and some of the jokes work fine. Set your expectations super-low, and you'll probably be fine.
  24. The screenwriter, James Solomon, does the poor job only a liberal could at making the case for a Cheneyesque "dark side," and he isn't helped by Kline's wooden acting. Too bad. The Conspirator is eloquent enough to let the other side have its say.
  25. For all its calculation and manipulation, there's a very human movie somewhere within Marigold Hotel. You might just have to wade through a thousand clichés to get to it.
  26. A great deal of energy is expended on metaphysical ruminations that become ever fuzzier. The film is intended as an allegory, but it works best as a jailbreak romance. In this movie, lowbrow trumps highbrow every time.
  27. The prolific Patrice Leconte takes a break from mythic, life-and-death scenarios with My Best Friend, a sitcom that threatens to take a rockier emotional path before swerving back into the comfy zone. It’s better when it’s threatening, but Leconte knows his audience.
  28. Devos is especially fine as a woman whose inner solitude carries depth charges.
  29. Yes, I cringed at the casting, too, especially when, watching the trailer, I heard Parker deliver the narration in the same voice she used for Carrie in "Sex and the City." But Kate is funnier - less arch - than Carrie, and Parker reminds you what a dizzy, all-in, high-risk comic actress she can be when she's not too busy showing off the couture.
  30. Talk to Her affects some people very deeply, while others, like me, find it high-grade kitsch.

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