New York Magazine (Vulture)'s Scores

For 1,830 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Fruitvale Station
Lowest review score: 0 She Hate Me
Score distribution:
1,830 movie reviews
  1. With Joe Johnston directing instead of Spielberg, who executive-produces, and a scrum of screenwriters, none named Crichton, the franchise suffers some negligence.
  2. The only saving grace is that Caine and Duvall don’t overdo the southern-coot stuff.
  3. The cast…is first-rate, but each is given a single note to play.
  4. A weepie for audiences under the (mistaken) impression that independent movies are always more emotionally honest than Hollywood movies.
  5. Campion is dabbling in several different types of movie here: police procedural, film noir, romantic melodrama, sex fantasia. None really succeeds.
  6. This final installment jettisons most of the Zen mumbo-jumbo from the first two movies in favor of lots of very loud explosions. Since I didn’t take the mumbo-jumbo seriously to begin with, my letdown was minor, but aficionados may feel like they’ve been played for suckers.
  7. Director Mike Newell and screenwriters Lawrence Konner and Mark Rosenthal should have uncorseted their own imaginations. The girls on display are all tightly stereotyped.
  8. It isn't just the violence that is overplayed. There is so much creepy-Gothic Sturm und Drang in The Passion that at times it seems as if Clive Barker should get credit for the story along with Matthew, Mark, Luke, and John.
  9. It’s tough to be Tracy and Hepburn, let alone Doris Day and Rock Hudson, when you're trying to get your mouth around lines that wouldn't pass muster on a UPN sitcom.
    • 43 Metascore
    • 40 Critic Score
    Palmetto is an unconvincing, paint-by-numbers pass at American noir by the usually ambitious German director Volker Schlondorff (The Tin Drum).
  10. The film is a stodgy snooze, and Theron, who is about as expressive here as a porcelain doll, lacks all believability--she's followed her best performance (in Monster) with her worst.
  11. Maudlin.
  12. The empathy never lifts off -- never becomes poetry. It doesn't help that Leigh indulges his unfortunate habit of larding the soundtrack with draggy, mournful music, heavy on the cello.
  13. Beresford, can't bring this saga to life because Alma herself never fully comes to life; her contradictoriness, like the way she embraces Mahler only to rail against his "Jewish music," doesn't add up to a whole and complex human being.
  14. A hapless comedy that already seems about ten years out of date, Be Cool is a curious failure.
  15. The time shifts are awkward, and Egoyan displays little of the deftness of characterization he evinced in such movies as "Exotica" (1994) and "The Sweet Hereafter" (1997); the result is a cold scold of a movie.
  16. Steve Martin can be a delightfully spasmodic clown, but his Clouseau makes no sense.
  17. Yet another remake no one needs is The Omen.
  18. Stagedoor features unremarkable rehearsal footage (exhibitionists make poor subjects for vérité documentaries) and thoughtful but unsurprising interviews with camp counselors and parents.
  19. The bigger problem is that Singer’s weighty rhythms are disastrous for Superman, and the movie actually gets heavier in its last half-hour.
  20. It's a stilted thing--overstylized and inexpressive, like high-school kids playing dress-up, or bad Kabuki.
  21. As Willie Stark, Sean Penn demonstrates how a great Method actor can make the world’s most unconvincing rabble-rouser.
  22. It was probably hopeless from the start: The Warhol cosmos is too weird and complicated to lend itself to a conventional Hollywood biopic, and this one is conventional down to Warhol's first glimpse of his future "superstar" bouncing up and down vivaciously in tacky slow motion.
  23. The Situation is, to put it kindly, a spotty piece of work. The script is by Wendell Steavenson, a reporter who seems to know everything about Iraq and next to nothing about screenwriting. The dialogue is flat, and the actors almost never rise above it.
  24. Hannibal Rising is basically a Steven Seagal vigilante movie with a hero who eats the people he kills. At least it's ecofriendly.
  25. If the movie were just these two (Costner/Hurt), bopping around arguing and offing people, it would have been better than the unholy mess it turns into.
  26. Evan Almighty runs out of comic invention early, and the filmmakers fall back on what real politicians do when they exhaust their small stash of ideas: brainless piety.
  27. The Camden 28 is slapdash: more talking heads, reunion footage with the mother reading from her own testimony, newscasts of the day. But the editing supplies some urgency, and the subjects remain radiant yet down-to-earth--too good-humored to be beatific.
  28. As you watch the nannies mistreated and the children left to cry themselves to sleep, the only surprise is that there are no surprises. It’s zombie-land.
  29. Foster’s feminist victimization complex seems to be looping around to meet Nixon and Agnew. Next she’ll be hunting Commies for the FBI.

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