New York Magazine (Vulture)'s Scores

For 2,002 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Meru
Lowest review score: 0 Movie 43
Score distribution:
2,002 movie reviews
  1. Adam Shankman's movie of the Broadway Hairspray gets better as it lumbers along, but there’s something garish about its hustle--it’s like an elephant trumpeting in your face.
  2. This Bond is haunted, not yet housebroken, still figuring out the persona. In Casino Royale, the reset button has been pressed in the manner of "Batman Begins."
  3. Like Pynchon’s novel, it’s a little insular, too cool for school. It’s drugged camp. Some of the plot points get lost in that ether — it’s actually less coherent than Pynchon, no small feat. It’s not shallow, though.
  4. Starred Up is an edgy, teeming thriller, brilliantly disorienting, making strange a world we thought we knew, at least from other movies.
  5. This supernatural comedy isn't just Allen's best film in more than a decade; it's the only one that manages to rise above its tidy parable structure and be easy, graceful, and glancingly funny, as if buoyed by its befuddled hero's enchantment.
  6. Watching it is like getting a peek behind the curtain. But it's frustrating, too, because the casting of Emadeddin as a murderer-in-the-making precludes any psychological depth. And as an indictment of social inequality, which is the film's calling card, Panahi inadvertantly makes a far better case for the haves than for the have-nots.
  7. This is by light-years the most entertaining movie of the year. How many apocalyptic sci-fi action extravaganzas leave you feeling as if the world is just beginning?
  8. May be at once too gimmicky and too sincere. But it still exerts an uncanny power: Like the best of Almodóvar’s work, it throws you a first-love sucker punch that will stagger your heart, mind, and soul.
  9. It's Lawrence who knocked me sideways. I loved her in "Winter's Bone" and "The Hunger Games" but she's very young - I didn't think she had this kind of deep-toned, layered weirdness in her.
  10. I've never seen another movie that so clearly expresses the sensual sustenance that great folk culture provides its practitioners.
  11. Elaine Stritch: Shoot Me is one of those showbiz docs that’s not exactly pleasurable but offers a penetrating glimpse — sometimes too penetrating — into what it means to eat, drink, and be contrary in the public sphere.
  12. This is one of the most galvanizing documentaries I've ever seen.
  13. Midway through, an eerier theme creeps in, all the more powerful for Herzog's lack of insistence. By the "end of the world" he means the end of the world.
    • 80 Metascore
    • 90 Critic Score
    Writer-director Richard Kwietniowski has never made a feature before, but this debut effort is a triumph, a buoyant and elegant achievement -- romantic and ruminative yet always precise, a comedy of longing propelled by a strong current of satirical observation.
  14. The sheer scale of the movie is mind-blowing--it touches on every aspect of modern life. It's the documentary equivalent of "The Matrix": It shows us how we're living in a simulacrum, fed by machines run by larger machines with names like Monsanto, Perdue, Tyson, and the handful of other corporations that make everything.
  15. Troell’s entrancingly beautiful Everlasting Moments uses surfaces--light, texture, faces--to hint at another world, a shadow realm.
  16. The vision is as hateful as it is hate-filled, but the fusion of form and content is so perfect that it borders on the sublime.
  17. For Greenfield, the Siegels are a brilliant metaphor for everything farkakte about the U.S. economy and the culture that shaped it.
  18. 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.
  19. Director Bill Pohlad (working with frequent Wes Anderson cinematographer Robert Yeoman) is extraordinarily sensitive to the amorphous nature of Wilson’s life and art, and Atticus Ross’s score creates a floating, evocative soundscape, which is Brian Wilson–esque without a trace of plagiarism.
  20. 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.
  21. 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.
  22. Entertaining documentary.
  23. Árpád Halász is the credited “animal trainer for 280 dogs,” Teresa Ann Miller the handler of Bodie and Luke — better actors than half this year’s Academy Award nominees. This is the new gold standard for nature-bites-back movies.
  24. 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.
  25. In the best moments of Howl's Moving Castle and in his extraordinary body of work, Miyazaki teaches his viewers more valuable lessons.
  26. 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.
  27. As amusing as the movie is, I think in the end that Ascher misses the labyrinth for the trees.
  28. 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."
  29. The Band’s Visit resounds with tenderness and melancholy.

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