New York Magazine (Vulture)'s Scores

For 1,802 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Triplets of Belleville
Lowest review score: 0 Enough
Score distribution:
1,802 movie reviews
  1. The plotting isn't fresh, and the politics are a tad reactionary, but the movie is also shapely, rounded, satisfying - a classical ghost story.
  2. As a piece of suspense, it ain’t exactly "North by Northwest," or even "Three Days of the Condor"; the awkward attempts at chase scenes make it clear that Redford the actor, who has always given off a slightly lugubrious air, has lost a step or two physically.
  3. The real passion here is the almost erotic thrill that acting still holds for Moreau.
  4. Loach has gotten hold of a marvelous subject -- the invisibility of the working poor in the environs of the rich -- that keeps you watching despite all the banner-waving.
  5. Powerful, uneven police drama.
  6. 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.
  7. There’s a special kind of hell for artists who array vigilante revenge-porn in saintly garb, and Denzel Washington and director Antoine Fuqua should go to the front of that damnable line after The Equalizer.
  8. The movie itself isn’t dull. It’s moderately stylish, moderately suspenseful, fun in patches. It hits its marks. But the setup lacks urgency.
  9. By now we’ve seen so many good, bad, and indifferent Sherlocks that it’s almost a relief to get something different, however wrongheaded. And there’s no such thing as too much Downey.
  10. An exuberantly garish French movie.
  11. The story is hell to follow--the flashbacks aren’t in chronological order--and the nonacting variable.
  12. Sensationally directed by Peter Berg, it’s a combination forensics detective movie (car bomb blows up secure American compound in Saudi Arabia--who dunnit and how can we stop him from doing it again?) and red-meat waste-the-terrorists action picture.
  13. This is low-grade satire. The shocks to the system in Buffalo Soldiers are nothing more than cheap thrills.
  14. The best thing in the movie is Stewart. She was the leggy hobo-camp teen in love with Emile Hirsch in "Into the Wild," and she's better at conveying physical longing than any of the actors playing vampires.
  15. This series is in its fortieth year; it might be nice to see Bond battle a readily identifiable, real-world villain for a change. There's certainly no shortage.
  16. Despite its exuberant perversities, Waters’s take on erotomania is almost quaint.
  17. Million Dollar Arm is cute, cloying, simplistic, borderline offensive … and thoroughly effective.
  18. If you're in the mood for a liberal message movie in which the only surprise is no surprise, American Violet is the ticket.
  19. As he delivered his climactic sermon in the Israeli desert, I murmured, "Amen, brother." Religulous is a religious experience.
  20. 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.
  21. Salles hasn't reinvented On the Road, but rather turned it into a rambling, beautiful, and occasionally even heartbreaking museum piece.
  22. This kind of reverence kills what it seeks to preserve. The movie is embalmed.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. Foster’s feminist victimization complex seems to be looping around to meet Nixon and Agnew. Next she’ll be hunting Commies for the FBI.
  29. 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.

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