New York Magazine (Vulture)'s Scores

For 1,772 reviews, this publication has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% 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: 62
Highest review score: 100 The Cove
Lowest review score: 0 She Hate Me
Score distribution:
1,772 movie reviews
  1. Salles hasn't reinvented On the Road, but rather turned it into a rambling, beautiful, and occasionally even heartbreaking museum piece.
  2. The Maze Runner only answers some of the questions it so marvelously sets up. And while I probably now know too much about the story for it to work a similar magic next time, I find myself genuinely anticipating the next one.
  3. This kind of reverence kills what it seeks to preserve. The movie is embalmed.
  4. It's the worm set pieces that rule, as our hero must carry out a dare to eat ten worms ten ways between sunup and sundown.
    • 56 Metascore
    • 50 Critic Score
    If more can't be found in Bond than this, I wouldn't object, in principle, to that tuxedo's being hung up in the closet for good.
  5. The key to a good B-mystery is that all the actors should be a little stilted. You should never know the difference between an actor acting badly and an actor doing a masterful acting job of someone acting badly. In Non-Stop, there is much excellent bad acting.
  6. Directed by Bryan Singer in a break from his gayish superhero movies, it's a low-key procedural with a dollop of suspense--although perhaps not enough to make up for the foregone conclusion.
  7. Movies are the lesser medium for Fey and Carell. They’re the stars of two relatively sophisticated, media-savvy network sitcoms, yet their big-screen comedies are retro.
  8. I Origins really loses its oomph when Ian travels to India in search of a particular pair of eyeballs, and the movie closes on a note that would make even M. Night Shyamalan roll his own.
  9. The problem with Christine Jeffs’s Sylvia, as with most movies about deeply troubled artists, is that for the most part we are seeing the troubles and not the artist.
  10. Foster’s feminist victimization complex seems to be looping around to meet Nixon and Agnew. Next she’ll be hunting Commies for the FBI.
  11. The Rum Diary has no mighty gonzo wind. Even with a push from its Thompson-worshipping star, Johnny Depp, it leaves our freak flag limp.
  12. Watching the movie is at once electrifying and maddening.
  13. This is an ambitious midlife-crisis movie that valiantly weaves together big themes, among them the nagging guilt of the successful, wealthy artist.
  14. Hereafter occupies some muzzy twilight zone, too woo-woo sentimental to be real, too limp to make for even a halfway decent ghost story.
  15. CQ
    Not everything in this ambitious comic escapade works, but Coppola, along with his sister, Sofia, is a real filmmaker. It must be in the genes.
  16. A heavy dose of movie-colony narcissism posing as warts-and-all honesty.
  17. It’s both lowdown and effete, a jamboree of whoopee jokes and sick wit.
  18. Except for a few brilliant flashes, mostly from Peter O'Toole as Hector’s father, the Trojans' magisterially woebegone King Priam, Troy is a fairly routine action picture with an advanced case of grandeuritis.
  19. Jolie’s commitment to the part is admirable: She gives this Maleficent a real emotional urgency. But the rest of the movie lets her down.
  20. Zalla, a graduate of Columbia's film school, is talented and single-minded. He needs to lighten up, literally. He frames his characters to bring out all their sweaty desperation, and his palette is dark with splashes of muddy brown; even the street scenes look as if they were shot in a dungeon.
  21. For most of this movie, things are exactly what they seem--mediocre.
    • New York Magazine (Vulture)
  22. The combination of childlike glee and grown-up precision is a wonder. The movie actually earns the right to exist, which is no mean feat.
  23. W.
    W. isn't gripping enough as drama or witty enough as satire. It's neutered.
  24. It's written and directed by Kevin Smith--and hats off to him for being savvy enough to go for a piece of the Apatow action! Too bad he doesn't rise to the occasion.
  25. Max
    Noah Taylor does startlingly well by this role, but the conceit behind the film is a bizarre piece of wish-fulfillment.
  26. A meathead revenge picture, but it’s very satisfying. Director Martin Campbell, coming off "Casino Royale," has a style that’s blunt and bruising.
  27. Dom Hemingway is an uneven movie, to be sure — plot holes abound, and some of the aforementioned clichés can be distracting — but it’s still hard to resist. Because rarely have an actor and a part been so perfect for each other, and Shepard lets his lead run wild with this offbeat, contradictory character.
  28. There's less here than meets the eye or ear: We're a long way from Jonathan Swift, and any old episode of "Cops" is bound to be more engrossing, not to mention "real."
  29. It’s an odd fable: Viktor is the mysterious visitor who shows us what the American Dream is all about--in the movie’s terms, compassion for others--without ever wanting to become an American himself. He's a spiritual twin to E.T., who also had trouble phoning home.

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