New York Magazine (Vulture)'s Scores

For 1,817 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: 63
Highest review score: 100 The Lord of the Rings: The Two Towers
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,817 movie reviews
  1. 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.
  2. 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.
  3. Caine makes a grave, soulful vigilante avenger, and first-time director Daniel Barber gives the film a dank, streaky, genuinely unnerving palette.
  4. 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.
  5. 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.
  6. 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 . . .
  7. 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.
  8. 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.
  9. 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.
  10. Idlewild is diverting enough to suggest all the unexplored avenues in movie musicals.
  11. 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.
  12. For all its hipness, the movie serves up some awfully old chestnuts.
  13. It starts off with a flourish and winds up limp, like a rabbit pulled out of a hat that turns out to be dead.
  14. The result is perhaps the most elegantly shot, and certainly the most disturbing, of the recent fantasy films.
  15. I was blissed out during much of To Rome With Love, but I have to acknowledge its creepy side.
  16. Keys takes a scattershot approach to Cuban music, filming not only specific artists, like Los Cohibas and Los Zafiros, but also street musicians in the barrio and just about everywhere else he can find them.
  17. Exquisitely produced, immaculately acted, and thoroughly uninvolving, The Secret Life of Walter Mitty is a perfect nothing of a movie.
  18. Director Dennis Dugan knows his way around shin-whacking slapstick, and Sandler is mesmerizing.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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).
  27. Pontypool doesn't jell--its pretensions way exceed its reach--yet it's madly suggestive, and it rekindled my affection for the genre.
  28. 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.
  29. 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.

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