New York Magazine (Vulture)'s Scores

For 1,753 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 The Lord of the Rings: The Two Towers
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,753 movie reviews
  1. Writer-director Andrew Niccol throws around a lot of intriguing ideas in this film, and even though his ambitions are more expansive than his talent, he's managed to come up with something that credibly resembles the shape of things to come, Hollywood-style.
  2. Is Death of a President plausible? As political prognostication, perhaps. As a TV documentary, no way in hell. What's missing is shapeliness, suspense, narrative cunning, visual flair--in short, art. Are we really to believe that a network of the future would broadcast such a barbiturate?
  3. Steven Soderbergh is usually an inspired chameleon, perfectly suiting his style to his content. But The Good German is an ambitious miss...It's all very beautiful, high-minded, and remote.
  4. When the film shifts to Shanghai and the club Casablanca, there's too much lustrous-hued loitering and too few martial­-arts set pieces.
  5. With the transformation of Al Franken from comedian to activist, Nick Doob and Chris Hegedus stumbled onto a good subject, but in the documentary Al Franken: God Spoke, they stumble around in it.
  6. It's also breathtaking to watch a throwaway studio sequel break its corporate chains before your very eyes and become something thrilling and dangerous and alive.
  7. With a million times more computing power at its disposal than its 1982 predecessor, Tron: Legacy still looks like Disco Night at the jai alai fronton.
  8. It makes the same misstep that Allen's comedies often do: It assumes that the lives of these people are only about sex and love, and so that's all we ever see of them. This one-and-a-half-dimensionality wears thin.
  9. The lesson of this is that there’s no easy way to dramatize the story of Julian Assange and that trying to turn it into a conventional melodrama is not just politically irresponsible but dull-witted.
  10. Part of the pleasure in watching The Best Offer is the elegant, unassumingly suspenseful way it unfolds. You never quite know where it’s all headed, in part because it never quite tells you what kind of movie it is. I called it a “romantic thriller,” but there’s a lot more movie here than that.
  11. As usual, it's Banks, who's turning great performances in lousy movies into some kind of brilliant career strategy.
  12. It is a movie that's alive in its own way, and a welcome surprise in a genre sorely lacking in them of late.
  13. The only reason to check out Big Bad Love is Debra Winger, last seen onscreen in 1995.
  14. Von Trier has said he wanted to make a genre horror picture, but he couldn’t even come up with a decent metaphor: The climax is out of a Grade C hack-’em-up with people chasing each other through the woods with axes and knives.
  15. I think the movie works best if you know the original and have a taste for goofy revisionism.
  16. As a result, we get relatively little insight into the other characters as they react to Riddick. Without an unknown force to spark our own imaginations, the result is mostly dead air.
  17. The hang-loose grodiness of these films has its charms, and the Ray-Banned team of Will Smith and Tommy Lee Jones, at its best, is good vaudeville.
  18. It's a stilted thing--overstylized and inexpressive, like high-school kids playing dress-up, or bad Kabuki.
  19. While the imagery in this retelling is impeccable, the story is strangely lifeless.
  20. Jake Paltrow's comedy takes familiar male-angst material and turns it into a painful--but fun--string of jokes.
  21. Stagedoor features unremarkable rehearsal footage (exhibitionists make poor subjects for vérité documentaries) and thoughtful but unsurprising interviews with camp counselors and parents.
  22. This is an extraordinary film.
  23. A movie like Hart's War, for all its realistic trappings, is essentially escapism. And yet it inadvertently pushes the 9/11 button. The real world is going to intrude a lot this year at the movies. Better get used to it.
  24. Spacey is turning into another Robin Williams: Between this film and "Pay It Forward" he cops the prize for the Sappiest Performances by an Actor Previously Known to Have Great Talent.
  25. Gets points for oddness. Excellence is another matter.
  26. You wish Rio 2 had the smarts and the inventiveness to match its scattered bursts of ambition.
  27. Watching Spike Lee’s decent but unmemorable remake of Park Chan-wook’s 2003 revenge picture "Oldboy," I kept trying to figure out why he’d done it.
  28. Writer-director Billy Morrissette doesn't have much feeling for satire -- or for Shakespeare. This is a comedy for people who couldn't make it through the CliffsNotes.
  29. I wouldn’t believe that Run, Fat Boy, Run was co-written by Simon Pegg (of Shaun of the Dead and Hot Fuzz) if he weren’t up there on the screen in teeny briefs and with his gut stuck out, trying to endear himself to the American audience in material maybe a notch above Rob Schneider’s.
  30. The first Allen picture since "Sweet and Lowdown" that doesn't leave a bad odor in its wake.

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