New York Magazine (Vulture)'s Scores

For 2,386 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% 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 The Human Centipede III (Final Sequence)
Score distribution:
2386 movie reviews
  1. Believe it or not, the delicate-featured, whisper-thin actress manages to (mostly) pull it off, but the abysmal movie around her lets her down.
  2. Elf
    I was looking forward to something a tad more satirical than this Hallmark card of a movie, which plugs innocence and goodness like they’re going out of style.
  3. It should be wilder, funnier, nuttier.
  4. Jumper is so in sync with the language of modern action movies that it’s possible to look past its soullessness and go with the quantum flow.
  5. This demonic possession story is at times so lame it makes the last "Paranormal Activity" flick look like a masterpiece.
  6. Does anybody really find this crap scary anymore?
  7. Look past its colorful, smooth surfaces and something corrosive emerges. And it’s not like the film isn’t aware of this. But it doesn’t really know what to do with it.
  8. The Grisham-esque murder-mystery plot got so scrambled that, finally, it’s anybody’s guess what the filmmakers intended.
  9. Ride Along 2, which picks up not long after the first film ended, doesn’t mess much with the formula, except that everything feels more frayed and tired this time around.
  10. Most of the dialogue and effects are clunky, repetitive, second-rate. A minute or so of David Lynch’s latest Twin Peaks series has more irrational menace. For all its feverish activity, Mother! feels static.
  11. Bana is a likable actor, but he doesn’t bring any vulnerability or transparency to the part; it’s hard to tell what he’s thinking, if he’s thinking anything at all. And so, we move from one bleak, bludgeoning setpiece to another. But with each loud noise, the film loses us more and more.
  12. The original film also featured Rob Schneider. I can’t quite believe I’m saying this, but his presence is sorely missed here.
  13. A well-polished cowpat that will confuse and bore those who know nothing about Shakespeare and incense those who know almost anything.
  14. Kidman is stuck in this pomo movie about the making of a TV-show remake. It’s "Being John Malkovich for Morons."
  15. Being a cultural icon is a time-limited occupation; after a while, the culture moves on, and if you don't move with it, you end up with a movie like Anything Else.
  16. Since this is a coming-of-age movie about a poor rural kid who grapples with the big city, it would be nice if its protagonist weren’t such a lummox.
  17. It isn’t a train wreck--a train wreck would be memorable. What’s wrong is wrong by design.
  18. If all this sounds outrageous, and extreme … don’t worry, it’s not. Provocation coupled with ineptitude doesn’t reveal the ugliness of humanity; it simply reveals the ugliness of the filmmakers themselves.
  19. A weird mix of tired jokes, topicality, and crippling anxiety.
  20. The documentary has its roots in a monologue in which the "guest of Cindy Sherman" (what H-O's place-card read at a gala) stood up for his personhood and made himself the center of the story—only there's NO STORY, not even insight into what made this unlikely couple click. Remove the boldface names and there's no movie; that center does not hold.
  21. If there's anything to be learned from this dud, it's that when you decide to adapt an explosive property like The Da Vinci Code, playing it safe isn't safe: Either swallow hard and make the damnable thing or give it to someone with more guts and/or less to lose. Here is a saga that bombards the very foundations of Western religion. But onscreen, there seems to be absolutely nothing at stake.
  22. O
    It's a doomy dirge of a movie, in which the protagonists, or at least the actors who play them, aren't equipped to handle their outsize passions.
  23. Gets points for oddness. Excellence is another matter.
    • 52 Metascore
    • 30 Critic Score
    Wild Things, which was written by Stephen Peters and directed by John McNaughton, lacks fantasy and flamboyance, that it lacks, precisely, wild things, and that most of it is just flat.
  24. Exterminating Angels is meant as an autocritique--and yet the director can't get past his notion of himself as a fearlessly transgressive artist-hero, a martyr to the limitations of male gaze.
  25. The film collapses, because it doesn’t convince us on a basic level: The characters are driven by convenience, not behavior, and their actions seem like they’ve been manhandled into place to make the plot work.
    • 35 Metascore
    • 30 Critic Score
    At the end of Sphere, the three principals -- Dustin Hoffman, Samuel L. Jackson, and Sharon Stone -- agree, for the good of humanity, to forget everything that has happened to them in the movie up to that point. This is a pact I can only rush to join, and with exactly the same motive.
  26. The film's Russians are all played by French and Australian actors. Too bad Butterworth didn't find a Russian to play the Brit. That would have made the inauthenticity complete.
  27. The Canyons isn’t just bad, it’s rank — and it takes a peculiar sort of integrity to denude the frame of life to the point where it smells to heaven.
  28. Olympus Has Fallen is a disgusting piece of work, but it certainly hits its marks — it makes you sick with suspense.

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