New York Magazine (Vulture)'s Scores

For 2,128 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% 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 Sideways
Lowest review score: 0 She Hate Me
Score distribution:
2128 movie reviews
  1. Cosmopolis is often beautiful, but at times it feels like a movie sealed off from itself.
  2. It appears that the filmmakers have taken Hannah Arendt's notion of the "banality of evil" way too literally.
  3. Wasikowska drabs herself down. Her body is undefined in dowdy clothes, her hair hangs limply. But her eyes usher you into her inner world, with its battle between girlish longing and the impatience to move on and be what she really is — whatever that might be. It’s a richer performance than the movie deserves.
  4. Has William Hurt ever been this perfectly cast? He uses his groggy self-importance to make the pastor the victim of evil and the very fount of it.
  5. As cheap as the whole set-up is, the actors make wonderful music together - even if there's not much left of Eastwood's vocal cords except a handful of dust.
  6. The Keeping Room is slow and rather arty, with a chamber-music (plus harmonica and fiddle) score and cinematography that shrouds the faces in shadow. But it’s a fine piece of storytelling and earns its look and feel.
  7. Cameron Crowe is a romantic bordering on utopian, and his authentic family values - biological and surrogate - shine through in his enchanting We Bought a Zoo.
  8. Hyams's film, which may at first seem like a glorified VOD entry in a forgotten franchise starring has-been action stars, is an admirably tense sci-fi/horror adventure that somehow turns its considerable limitations into virtues.
  9. In the end, Turbo is an unambitious movie about a very ambitious character, but it has an infectious sense of fun. Don’t expect too much from it, and you’ll be pleasantly surprised.
  10. The good news is that The Dictator is a loose and silly and occasionally exhilarating political farce in the tradition of Chaplin's The Great Dictator (obviously) and the Marx Brothers' antiwar masterpiece "Duck Soup." And it comes in at a fleet 83 minutes - just right.
  11. If the staging were as witty as the plotting, Quantum of Solace might have been a corker like "Casino Royale." But when the action starts, art-house-refugee director Marc Forster (Monster’s Ball) mashes together close-ups in the manner of "The Dark Knight," and every big set piece is borderline incoherent.
  12. As a technical achievement, K-19 is right up there with Das Boot. Don't expect much dramatic depth, though. The fathoms descended in this movie are strictly nautical.
  13. Days of Grace is strong, brutal, despairing stuff. It’s also somewhat anticlimactic, by design.
  14. The result, however clichéd, is spectacularly unnerving: hair-trigger horror.
  15. Part goofy drug comedy, part shocking bloodbath. It’s a riot of tones and genres, but unlike that other recent hybrid, "Pineapple Express," the parts add up to something larger.
  16. The finished product is in a different league than the whompingly terrible Men in Black II - it hits its marks. But it's not inventive enough to overcome the overarching inertia, the palpable absence of passion.
  17. Has moments of genuine emotion...but overall, the film feels like it issues from a place Burton doesn't inhabit.
  18. Although it's shot in lovely, dusty shades of brown with splashes of Coca-Cola red, John Hillcoat's Lawless is dead weight: listlessly classical and then bludgeoning.
  19. Sheridan’s actors work with their intellects fully engaged--and they engage us on levels we barely knew we had.
  20. Something is missing, though. The themes are all there, but the movie doesn't cross the blood-brain barrier and rev you up.
  21. Kingsman is full of elaborately orchestrated violence and acrobatic stunt work, shot in fast, sinewy, CGI-enhanced long takes that push and pull our perspective this way and that. It’s all very silly and not really meant to be taken seriously, but as the story gets more and more brutal, something strange happens: We start to care for these cartoonish characters and this absurd scenario.
  22. The grandeur of the Lord of the Rings trilogy [has] been replaced by something that resembles tatty summer-stock theater.
  23. Computer-generated animated movies with wall-to-wall jokes can be excruciating, but these jokes are the funniest money can buy.
  24. It’s a pageant, as they say — a bunch of cameos and funny situations all sort of held together with a bare bones plot and some nods to the Christmas spirit.
  25. So fizzy it nearly fizzles out.
  26. Travel--finding the self by escaping the self--is central to the novels of Eggers and Vida, but Mendes knows where he's going before he gets there. And so the subject of Away We Go turns out to be not travel but child-rearing, which is at best well-meaning and anguished and at worst downright monstrous.
  27. What hallucinogen was Turturro on when he came up with this plot? It’s so crazy that it’s … fun.
  28. After a while, the film feels more like a cute conceit that hasn’t really been developed further. It’s intriguing, and very well-acted, but empty.
  29. However cheeky and blasphemous, this is, at heart, a rather sweet little fable. Which of course would mean nothing if it weren’t explosively funny.
  30. The Lords of Salem is gloomy, lacks variety, and is not without its flat patches. Heidi is an increasingly dullish heroine, and in the first 15 minutes you’ll know what’s going to happen in the next 80.

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