New York Magazine (Vulture)'s Scores

For 1,655 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 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Time Out
Lowest review score: 0 The Human Centipede (First Sequence)
Score distribution:
1,655 movie reviews
  1. It isn't just the violence that is overplayed. There is so much creepy-Gothic Sturm und Drang in The Passion that at times it seems as if Clive Barker should get credit for the story along with Matthew, Mark, Luke, and John.
  2. This final installment jettisons most of the Zen mumbo-jumbo from the first two movies in favor of lots of very loud explosions. Since I didn’t take the mumbo-jumbo seriously to begin with, my letdown was minor, but aficionados may feel like they’ve been played for suckers.
  3. Robert Redford’s Lions for Lambs is the clunkiest, windiest, and roughest of the lot. Most of it is dead on the screen. But its earnestness is so naked that it exerts a strange pull. You have to admire a director who works so diligently to help us rise above all the bad karma.
  4. What is the great Gene Hackman doing in the dingbat con-artist comedy Heartbreakers.
  5. I realize Legally Blonde 2 was not intended as scathing political satire, but I wish someone out there in movieland did indeed have just such an intention these days.
  6. Sam Rockwell strips himself down to pure appetite and has a buoyant spirit. But the film sure doesn't. It's bizarrely flat--it has no affect.
  7. The time shifts are awkward, and Egoyan displays little of the deftness of characterization he evinced in such movies as "Exotica" (1994) and "The Sweet Hereafter" (1997); the result is a cold scold of a movie.
  8. The catastrophe is so pulped and exaggerated that uninformed audiences will safely assume that global warming is just a Democratic scare tactic.
  9. Gracefully directed by Robert Schwentke, the film has a perfect performance by Bana, rangy and haunted, never at home in his body.
  10. Barely rates faint praise.
  11. Using Dickie Pilager as a stand-in for George W. Bush seems too coy a tactic for these scabrous times. For better or worse, we want the real--or at least, the "real"-deal.
    • 47 Metascore
    • 70 Critic Score
    The pleasantly disposable animated flick Hotel Transylvania, which gathers all the monsters in the world under one roof, is better than it should be, if not quite as good as it could be.
  12. Rock of Ages withholds nothing and makes miracles seem cheap.
  13. A frustrating blend of the sharply funny and the ploddingly generic. Although he does them well enough, we don’t really need Ron Shelton to give us the same old skidding-U-turn cop-thriller theatrics. He’s a much more distinctive talent than this crass spree allows for.
  14. It starts to feel less like a thriller than an actors’ workshop.
  15. Perhaps the late Blake Edwards could have found a balance between slapstick and psychodrama, but Ron Howard can't get the pacing right, and Allan Loeb's script is even wordier than the one he wrote for "Wall Street: Money Never Sleeps."
  16. Fuqua deliberately downplays the fantastical in King Arthur, but the gritty faux realism wears itself out quickly. You've seen one lancing, you've seen them all.
    • 46 Metascore
    • 40 Critic Score
    For all the occasional grace of its high-flying derring-do, Red Tails barely feels like a movie. It's an uncertain hodgepodge of impulses and desires that never coheres enough to even crash and burn.
  17. Campion is dabbling in several different types of movie here: police procedural, film noir, romantic melodrama, sex fantasia. None really succeeds.
  18. As you watch the nannies mistreated and the children left to cry themselves to sleep, the only surprise is that there are no surprises. It’s zombie-land.
  19. Dr. Seuss's The Lorax [sic] isn't Seussian in spirit. It's shrill and campy and stuffed with superfluous characters.
    • 46 Metascore
    • 70 Critic Score
    The new version of Lolita, released at last, turns out to be a beautifully made, melancholy, and rather touching account of a doomed love affair between a full-grown man and a very young woman.
  20. But the question hangs: Does this artificial, three-hankie scenario justify its 9/11 appropriations? Dry your eyes and decide for yourself.
  21. The Snow White comedy Mirror, Mirror turns out to be not that terrible - or maybe it's that the terrible first half hour wears you down so much that the rest seems relatively pleasant.
    • 46 Metascore
    • 30 Critic Score
    No matter where he (Von Trier) begins, his dramatic compass drifts toward the same pole: the sexual humiliation of his heroine (How could Daddy let you do this, Bryce?). But it's hard to get too worked up over racial injustice when a director has the temperament of a Klansman.
  22. The sad part is that How Do You Know is nowhere near as dumb as it looks. A couple of comic set pieces are inspired-or would be, if Brooks's timing weren't off.
    • 46 Metascore
    • 30 Critic Score
    If there's anything to be learned from this dud, it's that when you decide to adapt an explosive property like The Da Vinci Code, playing it safe isn't safe: Either swallow hard and make the damnable thing or give it to someone with more guts and/or less to lose. Here is a saga that bombards the very foundations of Western religion. But onscreen, there seems to be absolutely nothing at stake.
  23. At one point, Val bemoans how stupid the country is, how dumbed-down everything has become. Allen's new movie is far from dumb, but it has an air of abdication about it.
  24. The 61-year-old Stallone would deserve a measure of respect for pulling Rambo off, appalling as it is, but this Fangoria-worthy circus of horrors also features footage of actual Burmese atrocities.
  25. Why do filmmakers persist in remaking films that were already great to begin with? Why not instead remake bad movies that had terrific premises?

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