New York Magazine (Vulture)'s Scores

For 2,544 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Happy Feet
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
2544 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. What is the great Gene Hackman doing in the dingbat con-artist comedy Heartbreakers.
  6. 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.
  7. The whole film feels slightly grubby and low-res, like it’s been languishing in private mode on the filmmakers’ pre-HD YouTube page since 2008.
  8. The catastrophe is so pulped and exaggerated that uninformed audiences will safely assume that global warming is just a Democratic scare tactic.
  9. Rock of Ages withholds nothing and makes miracles seem cheap.
  10. Dr. Seuss's The Lorax [sic] isn't Seussian in spirit. It's shrill and campy and stuffed with superfluous characters.
  11. No matter where he (Von Trier) begins, his dramatic compass drifts toward the same pole: the sexual humiliation of his heroine (How could Daddy let you do this, Bryce?). But it's hard to get too worked up over racial injustice when a director has the temperament of a Klansman.
  12. Don't go to this movie on a full stomach. Better yet, don't go.
  13. 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.
  14. Movie has been upstaged by the sum of our fears. The staunch heroics, frantic presidential huddles, and hairbreadth rescues all seem tinny and escapist, too Cold Warrior–ish, for what's really going on now.
  15. I've never seen a film in which what was actually onscreen seemed so irrelevant.
  16. It offers a deranged hodgepodge of tones and acting styles and strange mannerisms and affectations and narrative dead ends that feels like it was assembled by a committee of bipolar extraterrestrials.
  17. I’ll give Flower props — in an age when so many teen movies are grasping so desperately for message-y topicality, it does the impossible, and manages to be about nothing at all.
  18. Probably the most garishly masochistic star turn since Mel Gibson's "The Man Without a Face." It could also be the most baroque chick flick ever made, the freakazoid spawn of "An Affair to Remember" and "The Matrix."
  19. Again and again the killers linger sadistically over the dead or dying bodies of the people they've dispatched. Did Carnahan think these sickening scenes would give Smokin' Aces a moral complexity that's generally absent from this genre? I think they make the picture seem even more morally bankrupt.
  20. I’m not terribly convinced that the overtly campy version of this film would be any better, but I’m very certain that this one is bad.
  21. Kingsman: The Golden Circle is the bloated, campy, thoroughly stupid sequel to the 2014 action thriller "Kingsman: The Secret Service."
  22. This is a low-stakes, no-frills, point-A-to-point-B crime thriller, taking inspiration from every parent’s worst nightmare, and pretty much nothing else.
  23. The fundamental ironic juxtaposition — ultraviolence meets corporate banality — is a bludgeon that never feels fresh no matter how many times it’s driven into our aching skulls.
  24. The new film stars The Rock, but The Wood might be a better description of his performance.
  25. The dance he (Wang) ended up with is on the wrong lap.
  26. Fred Schepisi, the great Australian director, had the thankless task of trying to turn Jesse Wigutow’s screenplay into something with a pulse, but his finesse is wasted on this steaming heap of dysfunctionalism.
  27. Haneke’s assault on our fantasy lives is shallow, unimaginative, and glacially unengaged--a sucker punch without the redeeming passion of punk.
  28. He's (Gandolfini) the true star of the film, and his stardom is achieved in the most honest of ways, through the sheer brute force of his talent.
  29. 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.

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