New York Magazine (Vulture)'s Scores

For 1,750 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Fruitvale Station
Lowest review score: 0 Movie 43
Score distribution:
1,750 movie reviews
  1. Director Dennis Dugan knows his way around shin-whacking slapstick, and Sandler is mesmerizing.
  2. It has an energy all its own, and Gondry’s voice is always welcome, and essential. Mood Indigo is somehow both unmissable and whisper-thin.
  3. Thor: The Dark World gets a lot more entertaining in the second hour, when the shape-shifting Loki is sprung from his cell (for complicated reasons) and immediately begins trading bitchy insults with his forthright, manly brother.
  4. If that sounds like Schwarzenegger might actually be called on to act this time, you're right. And to his credit, this is the loosest the guy's been in ages. His amiable banter rarely feels forced, and even the obligatory jokes about his age feel genuine.
  5. Thanks for Sharing is never quite crazy or funny enough to transcend its “disease-of-month” template. The title turns out to not be ironic — a mixed blessing.
  6. This unrated documentary, which contains no hard-core shots, could have used more hog and less hedge, if you catch my drift: When Jeremy drones on about his quest to be cast in mainstream movies, dullness sets in.
  7. Not a lot happens, and yet, as in the best so-called “slice of life” stories, you feel one way of life ending and another struggling to be born. The little that happens is enough.
  8. To be fair, some of it is good, very good. Jersey Boys has an easy, likable gait. It’s Eastwood’s most fluid film: He gets the swing of the music without fancy editing.
  9. Fortunately, most of the malarkey in this movie seems intentional in the same Sunday-afternoon-serial way as the Indiana Jones movies (some of which Johnston worked on).
  10. Pontypool doesn't jell--its pretensions way exceed its reach--yet it's madly suggestive, and it rekindled my affection for the genre.
  11. Zwigoff doesn't get the tone right, and the picture goes from reasonably amusing (if crude) to puzzling to boring to (when a campus strangler enters the picture) hateful.
  12. Save the Date works best when it's getting under your skin, and it does that when it's capturing the queasy halfway point - part sadistic, part bittersweet - of still loving somebody while trying to move on to someone new. It's a kind of subtlety that movies, especially American movies, rarely do well, but this quietly unassuming, secretly brilliant little charmer nails it.
  13. These numbers, frankly, display a professionalism and confidence that most of the rest of the movie can't match. And yes, that's the bad news.
  14. For all the fecal matter flying around, and all the dick jokes, Bad Grandpa turns out to be an act of redemption: It’s the anti-Borat. And for all its flaws, it might just be the most heartwarming movie of the year.
  15. It starts off with a flourish and winds up limp, like a rabbit pulled out of a hat that turns out to be dead.
  16. When are we going to get a generation of actors who will finally decline to succumb to The Woody Mystique, and refuse to accept a proffered role without first deciding whether the entire damn project is worthwhile?
  17. Connery and Zeta-Jones not only look great together, they work well together.
  18. Coogan's mopiness is oddly riveting.
  19. Is Brüno riotous? Yes, more so than "Borat," in which Baron Cohen's targets were ducks in a barrel and largely undeserving of ridicule. He doesn't aim much higher here, but his tricks are more inventive.
  20. Get Smart the sitcom was a one-joke affair and got tedious fast, whereas Carell’s starry-eyed dweeb has room for nuance, for growth, for inspiration.
  21. Look, Dear Mr. Watterson is a nice movie. Calvin & Hobbes fans may get a kick out of it. But it falls squarely into the promotional genre of documentary filmmaking — the same way so many music docs nowadays seem to be just movies about how awesome the director’s favorite band is.
  22. The only note of authenticity in the movie comes from Ian Holm, playing the royal physician. What is this nuanced performance -- at least until the final fireworks -- doing in this twaddle?
  23. Despite the clunkiness, Estevez's commitment to his father's generation’s idealism (and its murder) commands respect.
  24. Exterminating Angels is meant as an autocritique--and yet the director can't get past his notion of himself as a fearlessly transgressive artist-hero, a martyr to the limitations of male gaze.
  25. Shallow but satisfying, largely because of Meryl Streep and her big fake English teeth and gift for using mimicry as a means of achieving empathy.
  26. Oblivion is like that movie-within-a-movie: Everything in it feels 100 percent inauthentic. That vibe, as it happens, turns out to be intentional. But when the humans arrive, it’s still a narcotic.
    • 54 Metascore
    • 70 Critic Score
    Reitman may have his drawbacks but no one has ever accused his films of lacking heart. With sports movies especially, ya gotta have heart.
  27. A wee Boy Scout would have done far better in the wilds. It’s tough to think "Waiting for Godot" when what you’re watching is closer to "Dumb & Dumber."
  28. Observe and Report is the rare "action-comedy" (almost always a muddled hybrid) that earns its cathartic climax. The blood is real because the psychosis is real. But somehow--the magic of comedy--it's also uproarious.
  29. Has a terrific premise that shatters almost upon arrival; no bad-boy legend trashing a hotel room could have done a more complete job.

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