New York Magazine (Vulture)'s Scores

For 1,926 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 The Triplets of Belleville
Lowest review score: 0 Only God Forgives
Score distribution:
1,926 movie reviews
  1. Mostly stiff acting and intentionally flat, banal dialogue.
  2. It's as if an obsessed movie nut had decided to collect every bad war-movie convention on one computer and program it to spit out a script.
  3. 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.
  4. The people who made this movie have either seen too much mayhem -- or they haven't seen any.
  5. If anything, this series has gotten dumber and more inert as it has progressed, with this last one finally reaching over into an extended wallow in camp.
  6. For all its attempts at wonder and spectacle and play, Epic is mostly a slog.
    • 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.
  7. 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.
    • 51 Metascore
    • 30 Critic Score
    If the woman’s love is obsessive and needy, the story becomes stupid and painful, and that is what happens in The Object of My Affection, the Stephen McCauley novel that has been adapted for the movies with disastrous panache by playwright Wendy Wasserstein and director Nicholas Hytner.
  8. A well-polished cowpat that will confuse and bore those who know nothing about Shakespeare and incense those who know almost anything.
  9. The role plays all too easily into De Niro's worst current habits. He's dulled himself out in the service of a phony kitchen-sink pseudo-realism. For De Niro, less has become less.
  10. No Strings Attached is so palpably calculated that you know if the camera had pulled back a foot from the bed in which Portman and Kutcher were pretending to have sex, you'd have seen their agents standing by beaming: proud parents, proud pimps.
  11. He (Perry) has taken Shange's landmark poem cycle for seven African-American actresses, cut it up, and sewn its bloody entrails into a tawdry, masochistic soap opera that exponentially ups the "Precious" ante.
  12. There’s only one good scene in True Story, though it’s the most flagrantly absurd.
  13. Is Death of a President plausible? As political prognostication, perhaps. As a TV documentary, no way in hell. What's missing is shapeliness, suspense, narrative cunning, visual flair--in short, art. Are we really to believe that a network of the future would broadcast such a barbiturate?
  14. The only reason to check out Big Bad Love is Debra Winger, last seen onscreen in 1995.
  15. Von Trier has said he wanted to make a genre horror picture, but he couldn’t even come up with a decent metaphor: The climax is out of a Grade C hack-’em-up with people chasing each other through the woods with axes and knives.
  16. As a result, we get relatively little insight into the other characters as they react to Riddick. Without an unknown force to spark our own imaginations, the result is mostly dead air.
  17. Spacey is turning into another Robin Williams: Between this film and "Pay It Forward" he cops the prize for the Sappiest Performances by an Actor Previously Known to Have Great Talent.
  18. Gets points for oddness. Excellence is another matter.
  19. Writer-director Billy Morrissette doesn't have much feeling for satire -- or for Shakespeare. This is a comedy for people who couldn't make it through the CliffsNotes.
  20. The best way to kill the spirit of the sixties is to sanitize it with preachiness, which is what happens here. That rock-cock collection might as well be a box of baseball cards.
  21. I've never been sold on this anti-TV thesis. It's snooty. It assumes we in the audience have seen the light denied the lower orders. Invariably, the people in these movies who are rendered blotto by the tube are dingbat common folk. EDtv takes this notion to a new low.
    • 48 Metascore
    • 30 Critic Score
    Stupidity is also an issue in the independent film The Real Blonde, in which everyone seems to have suffered an IQ slippage of some 40 points.
  22. Boarding Gate was evidently made quickly and cheaply, and parts of it are fun. It’s too bad there’s no real viewer equivalent--that you can’t WATCH a film quickly and cheaply.
  23. What is the great Gene Hackman doing in the dingbat con-artist comedy Heartbreakers.
  24. Sam Rockwell strips himself down to pure appetite and has a buoyant spirit. But the film sure doesn't. It's bizarrely flat--it has no affect.
  25. The catastrophe is so pulped and exaggerated that uninformed audiences will safely assume that global warming is just a Democratic scare tactic.
  26. Rock of Ages withholds nothing and makes miracles seem cheap.
  27. Dr. Seuss's The Lorax [sic] isn't Seussian in spirit. It's shrill and campy and stuffed with superfluous characters.

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