New York Magazine (Vulture)'s Scores

For 2,273 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 La La Land
Lowest review score: 0 The Human Centipede (First Sequence)
Score distribution:
2273 movie reviews
  1. The remarkable thing director Ang Lee has done is to have made a film that remains firmly in the Western genre while never retreating from its portrayal of a tragic love story.
  2. I came out giddy, feeling lighter--by about five-sixths--than I did when I went in.
  3. The coup de grâce is especially graceless because everything we know is already visible in Marinca’s eyes. The actress is extraordinary.
  4. In his late seventies, Robert Redford has never held the camera as magnificently as he does in the survival-at-sea thriller All Is Lost.
  5. The Edge of Heaven is powerfully unsettled--it comes together by not coming together.
  6. Jauja is a rapturously bizarre movie that resists knowledge. That’s its secret, intoxicating power; the less you understand, the more mesmerized you are.
  7. The ensemble is stupendous--howlingly great--and the music goes deep.
  8. Very entertaining (and doesn’t overstay its welcome) but it’s a little depressing to contemplate.
  9. Truly, this is manna from hell.
  10. A Serious Man is not only hauntingly original, it’s the final piece of the puzzle that is the Coens. Combine suburban alienation, philosophical inquiry, moral seriousness, a mixture of respect for and utter indifference to Torah, and, finally, a ton of dope, and you get one of the most remarkable oeuvres in modern film.
  11. Sean Penn is so frighteningly good in this movie that he outdoes even the best of his earlier work.
  12. It takes some time to realize we're in a maelstrom--going down down down into a saga of obsession, sadism, masochism, and codependency that was and remains one of the great, sick tabloid stories of all time.
  13. Battle for Haditha has some of the raw energy of Sam Fuller's war pictures, which weren't subtle but left you energized by their ambivalence (there was no good or evil). It's a hell of a picture.
  14. Gloriously filthy, ramshackle, endearing documentary.
  15. Whatever else you say about Jurassic World, its amazing special effects — not just hurtling dinosaurs but flying killer pterodactyls — make it one of the most rousing people-running-away-from-stuff movies ever made. At its best, it’s good enough to take your mind off its worst, which is saying a lot.
  16. Bahrani’s concentration is close to supernatural as he tracks the young, prepubescent Ale (Alejandro Polanco) from job to soul-numbing job, some legal, some extralegal, to the point where you’re forced to suspend altogether your moral judgments and watch with a mixture of pain and awe.
  17. It's a crackerjack ride, shot and edited for maximum discombobulation.
  18. It’s the closest I’ve seen a film come to an act of genuine hypnosis.
  19. Connery and Zeta-Jones not only look great together, they work well together.
  20. It is filmed with simplicity, a purity of intent, and I wanted to watch the faces of these men in their last seconds of life--not for the sake of history, but because of Wajda's imperative to put his father's death onscreen. He needed to do this. And somehow, sanity is restored.
  21. I still don’t know how a gore-meister like Park Chan-wook could have made the year’s most irresistible romance. Maybe it’s that he hates oppression — chauvinist, colonialist, Sadean — so deeply that in hoisting his old boys on their own petards, he has discovered the wellsprings of love.
  22. Think "In the Mood for Love" with hookahs instead of chopsticks.
  23. It’s a fascinating meeting of three minds, and perspectives. Chief among them is Salgado himself.
  24. Tate Taylor’s film cares less about narrative clarity and more about portraying a life lived between the extremes of sin and grace, between the abject and the sublime. It’s lively, stylized, and genuinely surprising.
  25. Showcases some of the world’s finest and funniest actors having a high old time. It’s best enjoyed as a kind of traveling music-hall revue.
  26. As Jay and Silent Bob, Jason Mewes and Kevin Smith are the perfect comedy team for smart, dirty-minded 15-year-olds, which means just about all of us.
  27. What gives Los Angeles Plays Itself its extraordinary density is the way Andersen transforms a cliché into a metaphysical truth that encompasses far more than L.A.
  28. Blistering and nihilistic--a vision to reduce you to a puddle of despair.
  29. It's madly funny--a treat for moviegoers who don't mind gnawed-off limbs with their high jinks.
  30. It's an unusually funny, literate, worked-out script, and Mendes seems hell-bent on making the best Bond since "Goldfinger" - or the best, period, given that he exhumes Bond's old Aston Martin only to shoot it cheekily to pieces.

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