New York Magazine (Vulture)'s Scores

For 2,004 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Adventures of Tintin
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
2,004 movie reviews
  1. 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.
  2. A weepie for audiences under the (mistaken) impression that independent movies are always more emotionally honest than Hollywood movies.
  3. 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.
  4. 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.
  5. It would be barely passable under normal circumstances, but in 3-D it's a circus of excellent FX.
  6. The movie's revisionist tone is startlingly enough to carry you along.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. The plotting isn't fresh, and the politics are a tad reactionary, but the movie is also shapely, rounded, satisfying - a classical ghost story.
  12. 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.
  13. The real passion here is the almost erotic thrill that acting still holds for Moreau.
  14. 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.
  15. Powerful, uneven police drama.
  16. 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.
  17. 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.
  18. The movie itself isn’t dull. It’s moderately stylish, moderately suspenseful, fun in patches. It hits its marks. But the setup lacks urgency.
  19. By now we’ve seen so many good, bad, and indifferent Sherlocks that it’s almost a relief to get something different, however wrongheaded. And there’s no such thing as too much Downey.
  20. An exuberantly garish French movie.
  21. The story is hell to follow--the flashbacks aren’t in chronological order--and the nonacting variable.
  22. Sensationally directed by Peter Berg, it’s a combination forensics detective movie (car bomb blows up secure American compound in Saudi Arabia--who dunnit and how can we stop him from doing it again?) and red-meat waste-the-terrorists action picture.
  23. This is low-grade satire. The shocks to the system in Buffalo Soldiers are nothing more than cheap thrills.
  24. The best thing in the movie is Stewart. She was the leggy hobo-camp teen in love with Emile Hirsch in "Into the Wild," and she's better at conveying physical longing than any of the actors playing vampires.
  25. Showing the allure and gradual corruption of power through the eyes of a third party — sort of a mixture of "The Great Gatsby" and "Scarface" — is a solid conceit. But Andrea Di Stefano’s underbaked film doesn’t quite know what to do with it.
  26. This series is in its fortieth year; it might be nice to see Bond battle a readily identifiable, real-world villain for a change. There's certainly no shortage.
  27. Despite its exuberant perversities, Waters’s take on erotomania is almost quaint.
  28. Million Dollar Arm is cute, cloying, simplistic, borderline offensive … and thoroughly effective.
  29. If you're in the mood for a liberal message movie in which the only surprise is no surprise, American Violet is the ticket.
  30. As he delivered his climactic sermon in the Israeli desert, I murmured, "Amen, brother." Religulous is a religious experience.

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