New York Magazine (Vulture)'s Scores

For 1,797 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 War of the Worlds
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,797 movie reviews
    • 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.
  1. 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."
  2. 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.
  3. Has a terrific premise that shatters almost upon arrival; no bad-boy legend trashing a hotel room could have done a more complete job.
  4. The film will be huge. It’s busy. It’s kinetic. It’s a treat for kids. But like much of Seinfeld’s work outside his TV show, it’s impersonal. It doesn’t come from anywhere interesting.
  5. It's simply an astringent action flick that uses the wounded sensitivity of Ethan Hawke and Fishburne's witty hauteur to give the shoot-'em-up scenes some juice.
  6. If "Psycho" and "Peeping Tom" are the seminal killer-as-voyeur movies, Vacancy is the nasty little runt offspring with no other purpose in life but to gnaw on you.
  7. This smallest of films marks a welcome return to the world of interpersonal miniature for the writer-director.
  8. Trashy and lurid as this movie is, it’s certainly not boring, and it keeps its star in hog heaven throughout.
  9. Sinister did something I thought would be impossible: It made this lifelong horror freak abhor horror movies.
  10. If you can get past the craven concessions to formula, though, it’s rather underful--I mean, wonderful. Taking his cues from John Tenniel’s famous illustrations, Burton indulges his delight in disproportion.
  11. I'm glad Korine has pulled himself together, but the film is pretty ramshackle, full of obvious group improvisations that fail to spark and an overdose of bathos.
  12. It's one of the few tween movies that isn't in your face; its limpness becomes appealing.
  13. Danny Huston is screamingly funny as the alternately finicky and savage Head Ghoul--he’s like something spewed forth from the bowels of the Politburo. The problem is structural.
  14. Sex and the City: The Motion Picture is a joyful wallow. And it's more: In this summer of do-overs (The Incredible Hulk, a new Batman versus a new Joker), it's what the series finale should have been.
  15. Still, in its own Saturday-morning-serial kind of way, Attack of the Clones is a commendable example of the sort of movie we once loved and then outgrew. Of course, if it was even better, we wouldn't feel as if we'd outgrown it.
  16. 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.
  17. 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.
  18. This is the first big-studio action picture with some of the disgusted, bloody nihilism of the post-Vietnam era.
  19. Ridley Scott’s Robin Hood is a pompous, interminable hash.
  20. 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.
  21. 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.
  22. 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.
  23. The effect is a bit like watching "Gone With the Wind" with a dumpling substituting for Scarlett O’Hara.
  24. 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.
  25. Mostly stiff acting and intentionally flat, banal dialogue.
  26. 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.
  27. 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.
  28. Bachelorette has some big gaps, and it isn't what you'd call fun - it's not "Bridesmaids 2." But lovely women doing genuinely ugly things makes for a potent combination.

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