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 Tale of The Princess Kaguya
Lowest review score: 0 She Hate Me
Score distribution:
1,926 movie reviews
  1. It’s breezy, then suspenseful, and gradually, crushingly sad. On its own terms, it’s a perfect film.
  2. HPATDH 2 works like a charm. A funereal charm, to be sure, but then, there's no time left for larks.
  3. By all odds, Tarnation should have been an unwatchable, masochistic morass, but Caouette's love for the broken Renee--which is the true subject of the film--is awe-inspiring.
  4. A truly strange, wondrous beast. It has the playful humor and charm of a children’s movie, but its design is dark and unsettling.
  5. The movie doesn't quite come together, but it's full of smart, cynical talk, and it's very entertaining.
  6. Has a mixture of bloodletting and exultation that would make Sam Peckinpah sit up in his grave and howl with pleasure.
  7. Being a puckish Swedish, the writer-director Ruben Ostland slips into a tone that makes Force Majeure almost seem like a deadpan — frozen — comedy.
  8. It’s a hyper-aestheticized meditation on the meaning of history, visually astonishing, dramatically stilted. No masterpiece, but quite a feat (and quite effete).
  9. Lincoln is too sharply focused to deserve the pejorative "biopic" label. It's splendid enough to make me wish Spielberg would make a "prequel" to this instead of another Indiana Jones picture.
  10. The movie is a triumph of an especially satisfying kind. It arrives at a kind of gnarled grace that’s true to this sorry old man and the family he let down in so many ways.
  11. The whole thing is irresistibly preposterous.
  12. This is Kent’s first feature — an astonishing debut. Not perfect, though.
  13. In sum, Last Days is the best kind of documentary — it ties you up in knots.
  14. The self-satire of The Kids Are All Right is so knowing, so rich, so hilarious, so damn healthy that it blows all thoughts of degeneracy out of your head.
  15. What Now? Remind Me is all over the place, but it never feels messy or lax.
  16. It’s the closest I’ve seen a film come to an act of genuine hypnosis.
  17. Cave of Forgotten Dreams is sometimes frozen by Herzog's awe. But it's hard not to love him for always trying to look beyond the surface of things, to find a common chord in the landscape of dreams.
  18. Field made a thriller about what we are capable of in the name of hatred -- and of love.
  19. The Great Beauty is a subtly daring cinematic high-wire act — an entire film built around one character’s unrealized, unspecified yearning. And it might just be the most unforgettable film of the year.
  20. One job of memoir is to show the world through another's eyes and inspire you to live more alertly, and that is the glory of The Beaches of Agnès.
  21. Hot-dog Hong Kong action stylist Johnnie To has never achieved the cult status of John Woo in this country, but his explosively entertaining — and startlingly splattery — Drug War should win him new fans.
  22. A marvel of cunning, an irresistible blend of cool realism and Hollywood hokum.
  23. Creepily evocative.
  24. As with much of Soderbergh's avant-garde work, his garde isn't quite as avant as he would have us believe it is. Still, Soderbergh's jazzed stylistics can be smartly entertaining. Without them, an uneven movie like Traffic might seem more of a mélange than it already is.
  25. Talk to Her affects some people very deeply, while others, like me, find it high-grade kitsch.
  26. If I seem cool, it might be because I came in hoping for the same level of blood-and-thunder as in the Evangelical scenes of "There Will Be Blood," whereas The Master is a cerebral experience. But Anderson has gone about exploring fundamental tensions in the American character with more discipline than I once thought him capable.
  27. What gives Los Angeles Plays Itself its extraordinary density is the way Andersen transforms a cliché into a metaphysical truth that encompasses far more than L.A.
  28. A prime piece of whirlybird filmmaking, and the technique saps what might have been a powerful experience.
  29. The movie works smashingly, especially if you haven't seen its Hong Kong counterpart and haven't a clue what's coming. But for all its snap, crackle, and pop, it's nowhere near as galvanic emotionally.
  30. Liam Neeson has gravely splendid pipes as Ponyo’s father, a once-human wizard who lives underwater and despises humankind for polluting the planet.

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