New York Magazine (Vulture)'s Scores

For 2,086 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 The End of the Tour
Lowest review score: 0 Funny Games (2008)
Score distribution:
2,086 movie reviews
  1. 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.
  2. I don’t mind the movie’s retro-ness, but I wish Mostow didn't take pulp so seriously.
  3. 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.
  4. 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.
  5. The film is too wan and distanced to sweep you up, but it holds you.
  6. 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.
  7. Extraordinary Measures has a soppy piano-and-strings score, but the primal fear of loss sharpens every scene.
  8. 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.
  9. 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.
  10. Depressing, disgusting, and dated, Edmond is worth braving to experience America’s best-known serious playwright at his most gruesomely undiluted.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. Devos is especially fine as a woman whose inner solitude carries depth charges.
  17. 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.
  18. Talk to Her affects some people very deeply, while others, like me, find it high-grade kitsch.
  19. For all its indirection, Meek's Cutoff is an utterly conventional film. But it's worth asking whether Reichardt's drowsy rhythms, stripped-down scenario, and female vantage add up to something illuminating. And here's where she earns at least some of those plaudits she's been getting.
  20. Fanning’s controlled presence is ideal for a tale of Victorian repression. But as the film becomes one of quiet liberation, it needs more than her cool reserve. It needs passion — even if it’s of the slow-boiling kind — and I’m not sure that’s there.
  21. In the movie's best moment, an American sniper takes out a bad guy by a pier while a pair of hands reaches out of the water to grab the body so it doesn't make a splash and alert the other baddies.
  22. It's a sinuous, bittersweet odyssey, and although the filmmaking lacks finesse, the actors, especially Mandvi, with his bright, sorrowful beauty, and the great Om Puri, who plays Ganesh's father-in-law with an infernal crankiness, are always worth watching.
  23. The movie should be seen with a large, responsive audience--the better to live with it in the moment instead of worrying about where it’s going.
  24. The whole movie is a good try.
  25. Mistress America is hit-and-miss. It’s not as burdened by blame as other Baumbach films — Gerwig leavens him. But it’s labored.
  26. A sentimental, feel-good look at a family in mourning, but Jake Gyllenhaal rises above the clichéd script with a brilliantly creative performance.
  27. After a while, the film feels more like a cute conceit that hasn’t really been developed further. It’s intriguing, and very well-acted, but empty.
  28. The combination of childlike glee and grown-up precision is a wonder. The movie actually earns the right to exist, which is no mean feat.
  29. The pretty good thriller Lockout peaks with its first shot...When the camera moves and the plot kicks in - as it must - the movie loses its witty economy. Things get cluttered.
  30. Everything unfolds elegantly, understatedly. The movie is a Grisham in Le Carre clothing.

Top Trailers