New York Magazine (Vulture)'s Scores

For 1,854 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 Let the Fire Burn
Lowest review score: 0 Enough
Score distribution:
1,854 movie reviews
  1. If Nine Queens were a great film, instead of just a very good one, this rottenness would be so pervasive that it would burst the bounds of the plot; it would make us shudder.
  2. It’s wonderfully inventive filmmaking: Amirpour’s striking compositions borrow from the iconography of both the Western and the horror film — wide, evocative vistas are intercut with dark, tense city streets where shadowy figures follow one another.
  3. True Grit isn't as momentous an event as you might hope, but once you adjust to its deliberate rhythms (it starts slowly), it's a charming, deadpan Western comedy.
  4. Koreeda's compositions have a sympathetic detachment that Americans rarely value but is, for many Japanese, the whole point of art. That means you can contemplate the wonder in these glowing young faces without feeling as if you're on an intravenous drip of corn syrup.
  5. Entertaining documentary.
  6. In this otherwise rather schematic swatch of social catharsis, Brazil's Fernanda Montenegro gives the best performance by an actress I've seen all year.
  7. In the best moments of Howl's Moving Castle and in his extraordinary body of work, Miyazaki teaches his viewers more valuable lessons.
  8. It’s intermittently very funny. But it doesn’t make the existential leap to the big screen, and it doesn’t have the density of gags or the lunatic free-association of the best episodes.
  9. As amusing as the movie is, I think in the end that Ascher misses the labyrinth for the trees.
  10. I found the first half-hour a snooze, but once I adjusted to the movie's rhythms, I was completely enraptured. Ferran weaves the love affair into nature, but not in the mystical, sanctified manner of Ang Lee's "Brokeback Mountain."
  11. The Band’s Visit resounds with tenderness and melancholy.
  12. Selick has a great fantasy filmmaker's artistry, but he lacks that overflowing Geppetto-esque love that brings puppets to life. In Coraline, he's woozy with his own lyricism.
  13. There are no bad guys, and no real violence. Horror fiends looking for cheap thrills may be disappointed. But those with a flair for the offbeat might find themselves unnerved and riveted.
  14. The actors are in a nice place--poking fun at themselves without spilling into travesty. Fogged by self-absorption, Coogan makes you like him most when he's most dislikable; he has a fool's vulnerability.
  15. Clooney may be a specialist in embattled camaraderie--he helped revive "Ocean's Eleven," after all--but as in that caper remake, there's no depth to these characterizations, and Downey and Clarkson are squandered in a goes-nowhere subplot about their secret marriage.
  16. Nolan sustains an arty note of existential dread that probably will work better for noir-steeped film critics and overserious philosophy grad students than for general audiences, but he brings off a few brisk bravura moments.
  17. There's nothing like a film about wayward passions to remind you how differently people feel things.
  18. Little Miss Sunshine is an enchanting anthem to loserdom -- a dark comedy that piles on setback after setback and yet never loses its helium.
  19. Another year, another Mike Leigh gem.
  20. The Murmelstein interview didn’t make it into Shoah, and Lanzmann sat on it, saying in a written prologue that he finally decided he had “no right to keep it to himself.” I wish he’d brought it out in Murmelstein’s lifetime. (The rabbi died in 1989.) He deserved the chance to be heard by the people who hated him most — who probably still would hate him but come away with ­respect.
  21. Unsatisfying at a very high level. It fritters away more than most movies ever offer up.
  22. One of the glummest and most forbidding thrillers ever.
  23. Unsatisfying even if, like me, you're a lifelong aficionado of Nixon-bashing.
  24. The briskness of The Sessions works against it: It lacks the fullness of the best films of its ilk, chief among them Jim Sheridan's "My Left Foot." But Lewin lets his eye wander pleasingly.
  25. Undeniably powerful, but also rather numbing.
  26. What a cast Pride has — some of the best famous actors in Britain and lesser-known younger ones that will (soon) take their place in the firmament.
  27. The elements of Precious are powerful and shocking, but the movie is programmed. It is its own study guide.
  28. By turns desperately funny and unfunnily desperate?
  29. The Korean director im Kwon-Taek has made more than 90 films since his first in 1962, and perhaps this explains why his latest, Chunhyang, seems so effortless and masterly. Based on a highly popular eighteenth-century Korean folktale, it's a movie that, stylistically, mixes the traditional with the avant-garde; the narrative may be ritualistic, but there's a let's-try-it-on-for-size friskiness to the filmmaking.
  30. It's an elliptical tragedy in which the fate of its characters takes on a larger significance while never losing its intimacy.

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