New York Magazine (Vulture)'s Scores

For 2,423 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 0.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Finding Nemo
Lowest review score: 0 Movie 43
Score distribution:
2423 movie reviews
  1. The only grace note in the generally clunky Wonder Woman is its star, the five-foot-ten-inch Israeli actress and model Gal Gadot, who is somehow the perfect blend of superbabe-in-the-woods innocence and mouthiness.
  2. It’s the smart-ass nerd’s Baywatch. The movie is okay, though, if you don’t mind manic pacing and icky dick jokes.
  3. The script is frantically trying to build a whole world when a modest house would do.
  4. Cinematically, it’s undeniably gripping, a tightly wound contraption of nervous energy, grief, and gore. But it’s in service of a story that’s been told countless times before, and it’s not clear where Ramsay’s usually singular point of view is in play.
  5. Haneke’s integration of the ways we communicate and conduct our lives via phone and laptop feels uniquely effective.
  6. Loveless gives us a multicourse meal of social ills, too dispersed to feel like a thesis, yet too chilly to feel like a raw, unbridled tantrum.
  7. Östlund’s eye for the subtleties of human behavior, especially public behavior, never fails.
  8. It’s stuffed to the gills with effects executed by the highest-paid artists and technicians in the business. But it’s still a sorry spectacle.
  9. For all its throttling thrills, Good Time is a film about a destructive love — and loving someone despite not having the right kind of love to give them. Ignore the deceptively convivial title: This is the kind of thrill that sticks.
  10. This is a near-perfect film, and a heightening in every way of everything that was great about Baker’s last movie.
  11. To see an unfettered nightmare like this from such an idiosyncratic director feels like a cruel treat, and a welcome stylistic stretch.
  12. Coppola’s The Beguiled doesn’t have the southern-gothic kick of its predecessor. It’s not a horror movie. Its power is in its undercurrents, in the sense that what we’re seeing isn’t inevitable but a sort of worst-case scenario of genders in opposition. No one is wholly good or bad. Both sides are beguiled.
  13. It’s incredible what a difference 12 years makes: Baumbach is an altogether more generous and insightful filmmaker here than he was the last time he told this story.
  14. Wonderstruck gestures at a lot, especially between the two narratives, which Haynes flips between with such rapidity that the film isn’t able to find a tonal groove until well past its halfway point.
  15. The film is packed with so many strange gems of moments, and while a few feel like Bong losing the plot (specifically any time Okja decides to loosen her bowels) it always snaps back together.
  16. The dialogue of Alien: Covenant is often clunky and its plot repetitious. (As usual these days, there are too many climaxes.) But it’s scary and splatterful, which is all it really needs to be. It holds you.
  17. It’s a closed, depressing vision, elevated by compassion and superbly evocative filmmaking.
  18. I’m not sure about Hawn. A youthful twitterer, she has developed an expressively croaky voice, but nothing about her reads “nervous, agoraphobic cat lady.” She’s no longer a jumpy clown — she doesn’t need the humiliation.
  19. King Arthur is guilty of many blockbuster sins critics have taken it upon themselves to call out over the last decade. And yet, seeing a version of them this derivative and dumb, with neither CGI grandeur nor a sense of fun on its side, is like a splash of cold water in the face, a reminder of how bad things can be when nobody cares.
  20. You should — you must — see Last Men in Aleppo to witness an ongoing tragedy. But you should also see it to learn humility. We — meaning Americans — ain’t seen nothin’. Yet.
  21. Writer-director Azazel Jacobs has made a very smart movie about a very dumb idea.
  22. While 3 Generations certainly has some worthy explorations, it’s too vain not to sugarcoat itself, visually or otherwise.
  23. The film lives and dies by Latimore’s performance, which is quiet and ever-shifting.
  24. The Circle is a tonal mess: part satire, part moralistic melodrama. Some of it is broadly acted, some of it subtle, much of it overheated. It has great moments, though.
  25. The comedy in One Week and a Day comes from confusion, ineptitude, and alienation. It comes from people’s defenses being way, way down. It doesn’t cheapen the tragedy. It grounds it, sometimes in the mud.
  26. It’s not the weighty emotions that drag Vol. 2 down. It’s the plot that chases its own tail and the cluttered visual palette.
  27. The film is no masterpiece — again, George can’t illuminate why a million people were murdered by their own countrymen. But as we focus on Rusesabagina’s almost farcically desperate attempts to forestall tragedy, we have a vision of genocide as a virus with its own terrible momentum.
  28. The result is reasonably entertaining and totally disposable. Which it shouldn’t be, given that its focus is on guns and the way that they facilitate mayhem. Gory farce can be bracing. It’s the glibness that’s unconscionable.
  29. The final scenes are potent enough to save the movie.
  30. The action has become incoherent, largely past the point of enjoyability.

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