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 Triplets of Belleville
Lowest review score: 0 Only God Forgives
Score distribution:
1,926 movie reviews
  1. Most of the movie works because the blonde Weixler has a darling-daffy face (a pinch of Alicia Silverstone, a dollop of Drew Barrymore) and a should-I-or-shouldn’t-I ambivalence about sex that’s part realism, part screwball.
  2. The middling romantic comedy Smart People, which centers on a hyperintellectual dysfunctional family, is of interest chiefly for the first post-Juno role of Ellen Page.
  3. The film itself is uneven, but it’s kind of awesome seeing Bateman act so vile.
  4. The Grand is a seesaw, but the setting--the high-stakes poker subculture--is remarkably fertile and the actors are a treat.
  5. Once past the clunky prologue, the film is great fun, with a good balance between computer effects and athleticism.
  6. The performance is extraordinary, literally: Close resembles no man I've ever seen, or woman either. She's the personification of fear - the fear of being seen through, seen for what she is.
  7. Roth's deep-dish introspection would be difficult for any movie to achieve, but with the right cast and more passion, we might have been pulled right into Coleman's psychic prison. The Human Stain isn't a movie of ideas, and it's too inert to be a probing character study. No stain is left behind, just a wan watermark.
  8. As much as its premise may sound like the start of a bad joke, Peter Ramsey's movie preserves just enough genuine childhood wonder in its whooshing, high-tech theatrics to make it a delight.
  9. Miss Potter hardly deserves ridicule. It's sweet with lovely Lake District vistas and a heartfelt endorsement of land conservation. It will certainly play well with older audiences and the kind of adolescent girls who draw faces in their O's.
  10. A haunting duet for two great actors who haven't lost a step and have gained the most exquisite lyricism.
  11. The passing of the torch from Raimi to Alvarez is not a momentous occasion. In the end, who really cares? Five years from now, will you want to watch this bloody $14 million extravaganza or Raimi’s shoestring original, which was Amateur Hour elevated to pop art?
  12. Great on atmosphere and less good on everything else. That’s not entirely a knock.
  13. The audience for Hannibal is far more primed for a good time; if the film is a hit, it will be because Lecter has been cartoonized; his ghoulish panache, his double entendres about cannibalism, and his pet phrases like "goody-goody" and "okeydokey" all serve to make him a figure of fun.
  14. A weepie for audiences under the (mistaken) impression that independent movies are always more emotionally honest than Hollywood movies.
  15. Their doomy romance is supposed to be fated, but it just seems sloggy, certainly not the stuff of myth. A good comedy could be made from this same premise.
  16. It doesn’t come close to the emotional heft of those two rare 2s that outclassed their ones: Superman 2 and Spider-Man 2. But Iron Man 2 hums along quite nicely.
  17. It would be barely passable under normal circumstances, but in 3-D it's a circus of excellent FX.
  18. The movie's revisionist tone is startlingly enough to carry you along.
  19. Jackson's wonderfully nuanced, witty performance, and a few unexpected plot turns, give Coach Carter a subtext that helps complicate such knee-jerk oversimplifications, redeeming the role with energetic humor and a loose-limbed grace.
  20. The new 9/11 movies aim to rekindle feelings that most of us have, by necessity, moved beyond. But there’s more than one way to move beyond, as suggested by the spottily affecting ensemble psycho-comedy The Great New Wonderful.
  21. This is a deceptively weird movie. There’s always been an immediacy to Jacquot’s visual style; he likes to follow his characters closely, and he gets performances that are energetic but quiet.
  22. The talented writer-director Scott Frank comes awfully close in his adaptation of one of Block’s better novels, A Walk Among the Tombstones. I’d be way more enthusiastic if Frank hadn’t swapped out the book’s horrific, unforgettable ending for something so conventional, I can barely remember it a few days later.
  23. The plotting isn't fresh, and the politics are a tad reactionary, but the movie is also shapely, rounded, satisfying - a classical ghost story.
  24. 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.
  25. The real passion here is the almost erotic thrill that acting still holds for Moreau.
  26. 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.
  27. Powerful, uneven police drama.
  28. 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.
  29. 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.
  30. The movie itself isn’t dull. It’s moderately stylish, moderately suspenseful, fun in patches. It hits its marks. But the setup lacks urgency.

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