New York Magazine (Vulture)'s Scores

For 1,726 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 Melancholia
Lowest review score: 0 Arthur
Score distribution:
1,726 movie reviews
  1. I found The Promise pretty hard to resist. A heady blend of swordplay, somersaults, fairy-tale romance, and computer-generated whoosh.
    • 53 Metascore
    • 50 Critic Score
    Brooks is looking for comedy in all the wrong places. He's no longer his own White Whale. He's something slower, in a shell--his own turtle.
  2. The pretzeled syntax is fun for a while. But as the holes are filled in, the film stands revealed as just another vacuous revenge picture. It shrinks your perception of what movies can do.
  3. This is the first big-studio action picture with some of the disgusted, bloody nihilism of the post-Vietnam era.
  4. Ridley Scott’s Robin Hood is a pompous, interminable hash.
  5. Rufus Norris’s debut film, Broken, is a fractured, tonally scrambled British coming-of-age movie with flashes of greatness and an intensely felt performance by a young actress named Eloise Laurence.
  6. The film may have its roots in reminiscence, but it doesn't feel like it comes from the heart: Zeffirelli's, as usual, is swathed in tinsel. Still, the villas on display are gorgeous, and watching those dowager martinets intimidate the Fascisti is fine sport.
  7. Just because Cole Porter's biography was botched and airbrushed in "Night and Day," starring Cary Grant, doesn't mean De-Lovely, which is up-front about Porter's homosexuality, is a whole lot better.
  8. The effect is a bit like watching "Gone With the Wind" with a dumpling substituting for Scarlett O’Hara.
  9. Bloated and often boring and has absolutely no reason to exist, but that it also hits its marks. No fanboy will pass it up. No studio head will lose his or her job.
  10. Mostly stiff acting and intentionally flat, banal dialogue.
  11. It's as if an obsessed movie nut had decided to collect every bad war-movie convention on one computer and program it to spit out a script.
  12. It's depressing when the best thing you can say about a comedy is that its second-rateness is pleasantly in sync with its unmagnetic hero.
  13. It's not fresh terrain for satire, yet most of the jokes play riotously well.
  14. You spend a lot of the movie confused, but the great big reveals of its finale don’t feel very shocking at all. Yet it’s not a complete wash and, given the circumstances, that feels like an accomplishment.
  15. Jackman has musical-theater chops and knows how to sell material this ham-handed; Kidman isn't quite as deft. I've always admired her gumption in working so hard to overcome a certain temperamental tightness--but that tightness has now spread to her skin.
  16. O
    It's a doomy dirge of a movie, in which the protagonists, or at least the actors who play them, aren't equipped to handle their outsize passions.
  17. Sets out to demonstrate that life is about more than having sex. Inadvertently -- I think -- it ends up showing us just the opposite. As if we didn't already know.
  18. Baldwin is so good in the coming-of-age gangster drama Brooklyn Rules that it's like watching a voodoo priest.
  19. Earth to Echo resonates, despite itself.
  20. A collection of swashbuckling set pieces with the hustle of a vaudeville show.
  21. O'Sullivan's movie could easily have been made 60 years ago. This is not intended as a compliment.
  22. The Awakening has the good sense to find a mood and stick with it. It's not afraid to take itself seriously. It'll send shivers up your spine, both as a thriller and as the melodrama it eventually becomes.
  23. The new Carrie isn’t atrocious — just flat and uninspired and compromised by the kind of mindless teen-movie “humanism” that De Palma so punkishly spat on.
  24. Anyone who sees the suffering faces of the victims in "Casualties" and "Redacted" knows that De Palma not only despairs over what he’s showing us but implicates his own medium--his own male gaze--in the crimes against nature.
  25. Of all the dumb megabudget "Die Hard"–like action pictures of the last few years (including that other White House Goes Boom movie, "Olympus Has Fallen"), this is both the most entertaining and the most inviting of viewers' input.
  26. It’s the kind of solid, small-scale, entertaining action flick we probably need more of these days.
  27. The people who made this movie have either seen too much mayhem -- or they haven't seen any.
  28. It’s all strenuously camp.
  29. The problem is that Allen is getting a bit long in the tooth to be playing a romancer-rescuer, and since he and Helen Hunt have a rather frigid actorly rapport, we have plenty of time to notice the awkward, and barely acknowledged, disparity in their ages.

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