New York Magazine (Vulture)'s Scores

For 1,755 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Summer Hours
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,755 movie reviews
  1. The film may have its roots in reminiscence, but it doesn't feel like it comes from the heart: Zeffirelli's, as usual, is swathed in tinsel. Still, the villas on display are gorgeous, and watching those dowager martinets intimidate the Fascisti is fine sport.
    • 52 Metascore
    • 50 Critic Score
    I can't think of another movie that starts so brilliantly and ends so miserably as this one.
  2. Just because Cole Porter's biography was botched and airbrushed in "Night and Day," starring Cary Grant, doesn't mean De-Lovely, which is up-front about Porter's homosexuality, is a whole lot better.
  3. Bridges redeems the clichéd role of spoiled artist-sot. He's flamboyantly entertaining, which is more than this otherwise dreary movie deserves.
  4. Fuqua deliberately downplays the fantastical in King Arthur, but the gritty faux realism wears itself out quickly. You've seen one lancing, you've seen them all.
    • 56 Metascore
    • 50 Critic Score
    If more can't be found in Bond than this, I wouldn't object, in principle, to that tuxedo's being hung up in the closet for good.
  5. Their doomy romance is supposed to be fated, but it just seems sloggy, certainly not the stuff of myth. A good comedy could be made from this same premise.
  6. I’m not sure that depicting Rove as a demonic Wizard of Oz does much more than stir righteous indignation among the already indignant. A more pertinent and challenging mission would have been to show just how the public can be gulled by Rove's dirty tricks in the same ways again and again.
  7. In much the same way that Godard used heroines like Anna Karina or Bardot, Toback showcases Campbell's face as a placard of unknowability--a quality he recognizes as inherently feminine. The (inadvertent) question we are left with is, How much is there to know about her anyway?
  8. Using Dickie Pilager as a stand-in for George W. Bush seems too coy a tactic for these scabrous times. For better or worse, we want the real--or at least, the "real"-deal.
  9. The philosophic notions in I Love Huckabees are ultimately not much more than window dressing for some fancy slapstick.
  10. It underscores, with ample footage from his rallying speeches and his 1971 testimony before the Senate Foreign Relations Committee, just how important it was for the antiwar movement to be represented by someone like Kerry.
  11. John Travolta finds no artistic breathing-room in A Love Song for Bobby Long.
  12. Penn is mostly in "I Am Sam mode" here, doing a lot of shoe-gazing and mumbly-talk, but not without adding an edge of bitter intelligence to his character; he's just too good an actor to merely repeat himself, even when the material encourages him to.
  13. Barely rates faint praise.
  14. For all its hipness, the movie serves up some awfully old chestnuts.
  15. A character as psychologically complex as Guerin -- whose drive may not have been fully comprehensible even to herself -- needs a lot of room to expand on screen. Schumacher and Bruckheimer box her in.
  16. Channing's formidably good -- a career woman in extremis -- but the movie, which was written and directed by Patrick Stettner, otherwise unfortunately resembles a product of the Neil LaBute Finishing School.
  17. An art piece in which everything seems to be a metaphor for something else, and as pleasing as it is to watch, it's too pretentious by half.
  18. When are we going to get a generation of actors who will finally decline to succumb to The Woody Mystique, and refuse to accept a proffered role without first deciding whether the entire damn project is worthwhile?
  19. Lucas is a brilliant technician but a poor philosopher, and his lurchingly thought-out rendering of futuristic politics prevents the entire series from achieving the greatness to which it aspires. (You don’t make anything this big, for this long, without aiming for the planet Masterpiece.)
  20. Begins, at two-hours-plus, is a nonstarter.
    • 53 Metascore
    • 50 Critic Score
    Brooks is looking for comedy in all the wrong places. He's no longer his own White Whale. He's something slower, in a shell--his own turtle.
  21. Worth seeing, even if you're as ambivalent about it as I am. Its strength is in the way the drama creeps up on you.
  22. The ending is a huge letdown, doing little besides setting the stage for the sequel… But for a good hour and change, the film is a big toy box that teases you out of the Gloom.
  23. The pretzeled syntax is fun for a while. But as the holes are filled in, the film stands revealed as just another vacuous revenge picture. It shrinks your perception of what movies can do.
  24. To keep his satirist’s street cred, Weitz chases the sentimentality with sour slaps at the audience. But for all its supposed outrageousness, American Dreamz has a soft center.
  25. The movie is, in all senses, a big downer.
  26. A routine, stereotype-stuffed sitcom with pretensions.
  27. It's not a particularly complex (or pleasant) film, but along the way you get a glimpse of the kinds of neighborhoods that give birth to anti-Western fanatics.

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