New York Magazine (Vulture)'s Scores

For 1,796 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 Starting Out in the Evening
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,796 movie reviews
  1. A character as psychologically complex as Guerin -- whose drive may not have been fully comprehensible even to herself -- needs a lot of room to expand on screen. Schumacher and Bruckheimer box her in.
  2. For a movie with so many twists in it, 2 Guns never really jerks us around. This is what some summer movies should be like — clever in a stupid way, and stupid in a clever way.
  3. About Time is like a sermon that starts with a few good jokes and ends with tremulous exhortations to live, live.
  4. A cool summer thriller whose laughs don't slow down the suspense.
  5. Cloying as much of this stuff is, it's not cynical. Curtis seems genuinely convinced that love is all around. Far be it from me to say otherwise. We don’t speak the same language.
  6. The cast…is first-rate, but each is given a single note to play.
  7. Ends with a bunch of goofy outtakes--which are as dismal as the rest of the movie. How do you decide what to leave out when there's nothing worth keeping in?
  8. It collapses on all fronts, delivering hot-button platitudes and just-add-water character development.
  9. Weisz is an excellent Hypatia. For all her intelligence, there's something childish, off-kilter, vaguely otherworldly in her aura. She's just the type to be gazing into the heavens while around her all hell breaks loose.
  10. The Croods isn’t particularly smart, but it has just enough wit to keep us engaged and just enough speed to keep us from feeling restless.
  11. The philosophic notions in I Love Huckabees are ultimately not much more than window dressing for some fancy slapstick.
  12. The jumping around is as deft as a hippo in a tutu, and the director, Gavin Hood, never finds a rhythm.
  13. You've got to make room in your heart for a film in which the world ends with neither a bang nor a whimper but a cuddle.
  14. There's something appealing about the movie's unpretentious carnival of carnage, although I could have done without the flamethrower assault on a school bus to raise the stakes.
  15. Love & Other Drugs is crazily uneven, jumping back and forth between jerk-off jokes and Parkinson's sufferers sharing their stories of hope. It's the sort of movie in which half the audience will be drying their eyes and the other half rolling them.
  16. The screenwriter, James Solomon, does the poor job only a liberal could at making the case for a Cheneyesque "dark side," and he isn't helped by Kline's wooden acting. Too bad. The Conspirator is eloquent enough to let the other side have its say.
  17. Tusk is not a particularly good movie, but the vivid anxiety dream at its heart makes it one of the most personal films this writer-director has ever made.
  18. Caine makes a grave, soulful vigilante avenger, and first-time director Daniel Barber gives the film a dank, streaky, genuinely unnerving palette.
  19. Most movies take a while to slip you into a stupor. All the Pretty Horses makes you groggy right away. Set in 1949, it's a lackadaisical series of vignettes apparently culled from a much longer movie that never made it to the screen. Be thankful for that.
  20. The problem with all this don't-blink-or-you'll-miss-it dramaturgy is that ultimately everything is sacrificed for effect. When you're dealing, as Ritchie is, with explosions of real violence and viciousness, the hyperslick technique can't accommodate the real pain that comes with the territory, or ought to. What we're left with is a cackling amorality -- not a philosophy of life, just a posture.
  21. You can believe this man (Jones) left his family because he felt born into the wrong tribe. Now if only he had picked the right movie . . .
  22. The film’s brooding tension would probably work even without the recent tragedy of real-life events. But now, while uneven, the film is uniquely involving — right down to a final shot that will break your heart into a million pieces.
  23. The Last Samurai is an idyll in which the savageries of existence are transcended by spiritual devotion. That’s a beautiful dream, and it gives the film a deep pleasingness, but the fullness of life and its blackest ambiguities are sacrificed.
  24. This is familiar terrain jazzed up by unfamiliar voices--principally Terrence Howard and his high-pitched, singsong drawl. You don't quite know what he's thinking; he might even be demented. But he keeps you watching and guessing.
  25. Idlewild is diverting enough to suggest all the unexplored avenues in movie musicals.
  26. You can find fault with virtually every scene in Luhrmann’s The Great Gatsby — and yet in spite of all the wrong notes, Fitzgerald (and the excess he was writing about and living) comes through. The Deco extravagance of the big party scenes is enthralling. Luhrmann throws money at the screen in a way that is positively Gatsby-like, walloping you intentionally and un- with the theme of prodigal waste.
    • 54 Metascore
    • 50 Critic Score
    The movie is physically beautiful, but the ideas are kitsch -- it’s a New Age love story, the latest version of the doomed romances of 50 years ago.
  27. For all its hipness, the movie serves up some awfully old chestnuts.
  28. It starts off with a flourish and winds up limp, like a rabbit pulled out of a hat that turns out to be dead.
  29. The result is perhaps the most elegantly shot, and certainly the most disturbing, of the recent fantasy films.

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