New York Magazine (Vulture)'s Scores

For 1,911 reviews, this publication has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% 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 Boyhood
Lowest review score: 0 Arthur
Score distribution:
1,911 movie reviews
  1. I hope that in Part 2, Yates and screenwriter Steve Kloves give Fiennes a better send-off than Dame J.K. did in her less-than-wizardly climactic wandathon. Having made us sit through two and a half hours with no payoff, they'd better not go all Muggle on us. Next time, we want magic, people.
  2. No mainstream filmmaker since Orson Welles can touch Steven Spielberg when it comes to camera movement and composition--or, more precisely, to composition that gets more vivid as the camera moves...It's the work of a man with film storytelling in his blood. What a bummer when the story he has to tell is a cosmic nothing.
  3. I enjoyed this piece of southern-fried screwball Gothic whimsy (with jolts of CGI spell-casting for the multiplex crowd) so much that I’m sad to admit that it’s nowhere near as potent as "Twilight."
  4. A brisk feminist melodrama that is, historically speaking, a load of wank. It has the feel of a game of “telephone,” in which information is progressively mangled.
  5. Transporting, well acted, and occasionally powerful. It’s also a rushed, maddening mess.
  6. If there’s a sure thing in movies, it’s that if you cast Nicolas Cage in a role in which he goes crazy, he’ll rise to the occasion and keep on rising until he seems even loonier than his character.
    • 36 Metascore
    • 50 Critic Score
    This is a film full of unremarkable compromises — the kind that result in a bland film rather than a bad one.
  7. John Travolta finds no artistic breathing-room in A Love Song for Bobby Long.
    • 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.
  8. Inland Empire is way, way beyond my powers of ratiocination. It's the higher math.
  9. Cloying as much of this stuff is, it's not cynical. Curtis seems genuinely convinced that love is all around. Far be it from me to say otherwise. We don’t speak the same language.
  10. Spirit of Vengeance is so focused and, as a result, so impoverished that you actually feel bad for Cage. The actor tries to bring the weird (though at this point one wonders if he can even do anything else) but the film more often than not leaves him high and dry, saddling him with standard-issue action hero lines and boilerplate action set-pieces.
  11. The Age of Adaline, for its part, delivers the twists and turns of its fantastical plot with elegance and confidence. Here, the weak romance threatens to bring everything down.
  12. I don't mean to unduly target Kill Bill Vol. 2 --it's certainly no worse than most of the blam-blam fare out there. But what I crave now are movies that speak to me in a different way about violence, that acknowledge the fact that real people are harmed.
  13. These numbers, frankly, display a professionalism and confidence that most of the rest of the movie can't match. And yes, that's the bad news.
  14. Frances McDormand deserves much better than Lisa Cholodenko’s flat-footed Laurel Canyon...McDormand alone makes the picture worth seeing: Her character is a rash combo of steel and dissolution and regret.
  15. Fifty Shades of Grey is nowhere near as laughable as you might have feared (or perversely hoped for): It’s elegantly made, and Dakota Johnson is so good at navigating the heroine’s emotional zigs and zags that you want to buy into the whole cobwebbed premise.
  16. Jolie’s commitment to the part is admirable: She gives this Maleficent a real emotional urgency. But the rest of the movie lets her down.
  17. In their last collaboration, "21 Grams," the director Alejandro González Iñárritu and screenwriter Guillermo Arriaga did syntactical acrobatics to disguise what a dreary and exploitive little soap opera they’d made. Their new movie, Babel, is more mysterious and less coherent.
  18. Undeniably powerful, but also rather numbing.
  19. Divided We Fall is intended to be restorative, but its wish fulfillments, while charming, are also a bit too gaga for that.
  20. Jenkins is so desperate to give his love story a social and economic context that he stops the movie cold for a bunch of unrelated white people to articulate their grievances over gentrification--it's as if "Annie Hall" had paused for a seminar on agrarian reform.
  21. The tall, cool Kidman works hard to impersonate a woman possessed, but she's not the type of actress to fill in a role that hasn't been filled in on paper.
  22. In The Judge, a legal drama that builds to the requisite Hollywood Dark Night of the Soul, Robert Downey Jr. has a role so far inside his comfort zone that the movie has no drive, no urgency.
  23. This series is in its fortieth year; it might be nice to see Bond battle a readily identifiable, real-world villain for a change. There's certainly no shortage.
  24. It all mostly works, but you can’t help but wonder at times if it could have been a lot funnier if it had just a bit more edge.
  25. The Longest Ride is actually one of the more competent Sparks films in some years — a far cry from the creaky noir of "Safe Haven," the awkwardly backloaded melodrama of "The Best of Me," or the phony brooding of "The Lucky One." It goes down smoothly, if blandly, like an air-flavored milkshake.
  26. Yes, it all gets kind of old, and yes, it's all over the place, but you'll probably find yourself laughing at least some of the time. Dick jokes, after all, can be pretty funny.
  27. A crime thriller that is strong on sultry atmosphere--you practically break into a sweat watching it--but weak on believability.
  28. It's a great metaphor - but not a great movie. Jonathan Dayton and Valerie Faris direct in a drably naturalistic style, and the script is thin.

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