New York Magazine (Vulture)'s Scores

For 2,386 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 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Sideways
Lowest review score: 0 Arthur
Score distribution:
2386 movie reviews
  1. The funniest and most emotionally charged erotic road movie since Bertrand Blier's "Going Places."
  2. Outrageously entertaining.
  3. So Polley has gone meta — exuberantly, entertainingly, with all her heart.
  4. It’s the damnedest thing how the longueurs of Loving have such a cumulative power. I was still crying as the credits ended.
  5. This movie is utterly irresistible.
  6. It's hard to know whether to marvel or weep when James Carville goes into his Bill Clinton–meets–Looney Tunes act in Rachel Boynton's knockout documentary Our Brand Is Crisis--the context is so morally topsy-turvy.
  7. Fukunaga’s hurtling camera and taut cutting keep Beasts of No Nation only just this side of hallucinatory, and Elba is the kind of titanic actor to kick it to a near-mythic level.
  8. It's an elliptical tragedy in which the fate of its characters takes on a larger significance while never losing its intimacy.
  9. The movie is phenomenally gripping—although it does leave you queasy, uncertain what to take away on the subject of men, women, marriage, and the possibility of intimacy from the example of such prodigiously messed-up people.
  10. In totalitarian societies, artists have found all sorts of ways - some brilliantly imaginative - to disguise their political protest, but Panahi has no subterfuges left. This Is Not a Film ends with a whimper that is a bang. He must be freed.
  11. With her swanlike neck and ever-flushing complexion, Felicity Jones has a perfect nineteenth-century look, but there’s something forward and modern about her physiognomy, her huge eyes and strong nose and overbite. As she gazes down in enforced modesty, you feel her soul about to burst. The performance is startlingly vivid.
    • 50 Metascore
    • 90 Critic Score
    Andrew Davis, the director of "The Fugitive," one of the best thrillers of recent years, has added pace and heat and explicit sexuality to the material without whipping up phony excitement.
  12. Satrapi’s parents ship her off to a French school in Vienna, but she’s rudderless, ungrounded. She’s drawn back to a devastated Tehran, where she can’t design a life, either. This great film, by Satrapi and Vincent Paronnaud, is that life, designed. It freed her mind; it frees ours.
  13. A movie that really zips along; it offers some of the same pleasures as the silent slapstick comedies, particularly the Keaton films, with their sense of how sheer velocity carries its own wit.
  14. Burton, bless him, constricts the space and concentrates the melodrama; he finds the perfect balance between the funereal and the ferocious. Above all, he treasures these ghouls: He digs both their bloodlust and their melancholy.
  15. Chris & Don is the rarest of documentaries: a realistic portrait of the human spirit.
  16. Whatever his foibles, An Honest Liar depicts a great American original — a man who has taught a generation of scientists, magicians, and even certain film critics that our senses must be trained to detect the smell of bullshit.
  17. Anyone who loves live-wire acting will gasp in awe at Blanchett, more emotionally exposed than ever, and, most of all, at Dame Judi, who’s so electric she makes you quiver.
  18. In short, I'd be the happiest person in the world if Wong announced there was a four-hour cut of this film somewhere. For now, neither version is perfect, but they’re both so beautiful, so heartbreaking, that the question may be moot. Whatever its flaws, seeing The Grandmaster theatrically, in any version, should be a sacrament for any true film lover — a spiritual duty.
  19. The mystery may be resolved, but the suspense and uncertainty remain. And so, Guiraudie ends his film on a cold, almost cruel note of existential solitude that just might, if you let it, break your heart.
  20. It's a truly prodigious piece of work, resembling a career summation far more than a maiden voyage.
  21. Her
    In Her, Jonze transforms his music-video aesthetic into something magically personal. The montages — silent, flickering inserts of Theodore and his ex-wife recollected in tranquility — are sublime.
  22. A film that transcends its obvious timeliness to say some elemental things about personal loyalty and institutional betrayal.
  23. The resulting film is bizarre to the point of ­trippiness, yet it’s one of the most lucid portraits of evil I’ve ever seen.
  24. 20th Century Women is irreducible, too, although certain adjectives and adverbs do leap to mind: generous, reflective, absolutely delightful.
  25. What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.
  26. The movie is gorgeous, mesmerizing, poetic; the lyricism actually heightened by harsh jets of gore.
  27. If Timbuktu has a “takeaway,” it’s a deeply humanist one and so, in this context, political: that there’s no such thing as a monolithic Muslim culture; that the threat is nowhere near as great to Westerners as to the people of Mali, Syria, Iraq, Yemen, etc.; that ideology is deaf and blind and anti-life; and that cinema (and all art) can blow it to what I’d once have called Timbuktu.
  28. Sheridan’s actors work with their intellects fully engaged--and they engage us on levels we barely knew we had.
  29. It’s that rarest of psychological thrillers: one that actually lives up to the words “psychological thriller.”

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