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 Boyhood
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
2128 movie reviews
  1. Movies are the lesser medium for Fey and Carell. They’re the stars of two relatively sophisticated, media-savvy network sitcoms, yet their big-screen comedies are retro.
  2. Wit and charm matter, and The DUFF has a good deal of both. The cast will be stars, the gags will be immortal, and you’ll still be watching this movie years from now.
  3. The problem with Christine Jeffs’s Sylvia, as with most movies about deeply troubled artists, is that for the most part we are seeing the troubles and not the artist.
  4. It turns out to be absolutely delightful.
  5. Foster’s feminist victimization complex seems to be looping around to meet Nixon and Agnew. Next she’ll be hunting Commies for the FBI.
  6. There’s a lot of good stuff here, but the movie often seems more interested in ennobling rather than dramatizing.
  7. The Rum Diary has no mighty gonzo wind. Even with a push from its Thompson-worshipping star, Johnny Depp, it leaves our freak flag limp.
  8. Watching the movie is at once electrifying and maddening.
  9. This is an ambitious midlife-crisis movie that valiantly weaves together big themes, among them the nagging guilt of the successful, wealthy artist.
  10. Hereafter occupies some muzzy twilight zone, too woo-woo sentimental to be real, too limp to make for even a halfway decent ghost story.
  11. CQ
    Not everything in this ambitious comic escapade works, but Coppola, along with his sister, Sofia, is a real filmmaker. It must be in the genes.
  12. A heavy dose of movie-colony narcissism posing as warts-and-all honesty.
  13. It’s both lowdown and effete, a jamboree of whoopee jokes and sick wit.
  14. Except for a few brilliant flashes, mostly from Peter O'Toole as Hector’s father, the Trojans' magisterially woebegone King Priam, Troy is a fairly routine action picture with an advanced case of grandeuritis.
  15. Jolie’s commitment to the part is admirable: She gives this Maleficent a real emotional urgency. But the rest of the movie lets her down.
  16. Zalla, a graduate of Columbia's film school, is talented and single-minded. He needs to lighten up, literally. He frames his characters to bring out all their sweaty desperation, and his palette is dark with splashes of muddy brown; even the street scenes look as if they were shot in a dungeon.
  17. There’s a powerful austerity to Manglehorn the man’s tale that Manglehorn the film itself — well acted and touching though it often is — doesn’t quite match.
  18. For most of this movie, things are exactly what they seem--mediocre.
    • New York Magazine (Vulture)
  19. Joy
    I don’t think Russell has ever directed a scene as phony as the one in Joy’s office where she shows her abiding beneficence to a sweet young African-American couple. Equilibrium makes Russell a dull boy.
  20. The combination of childlike glee and grown-up precision is a wonder. The movie actually earns the right to exist, which is no mean feat.
  21. W.
    W. isn't gripping enough as drama or witty enough as satire. It's neutered.
  22. It's written and directed by Kevin Smith--and hats off to him for being savvy enough to go for a piece of the Apatow action! Too bad he doesn't rise to the occasion.
  23. Max
    Noah Taylor does startlingly well by this role, but the conceit behind the film is a bizarre piece of wish-fulfillment.
  24. A meathead revenge picture, but it’s very satisfying. Director Martin Campbell, coming off "Casino Royale," has a style that’s blunt and bruising.
  25. Dom Hemingway is an uneven movie, to be sure — plot holes abound, and some of the aforementioned clichés can be distracting — but it’s still hard to resist. Because rarely have an actor and a part been so perfect for each other, and Shepard lets his lead run wild with this offbeat, contradictory character.
  26. There's less here than meets the eye or ear: We're a long way from Jonathan Swift, and any old episode of "Cops" is bound to be more engrossing, not to mention "real."
  27. It’s an odd fable: Viktor is the mysterious visitor who shows us what the American Dream is all about--in the movie’s terms, compassion for others--without ever wanting to become an American himself. He's a spiritual twin to E.T., who also had trouble phoning home.
  28. Westfeldt, now 42, belongs to a generation (and class) of people for whom nothing about having kids is easy. Her intensity feels just right - better than in any film I've seen in years - for How We Breed Now.
  29. The first half of Quid Pro Quo is among the most jaw-dropping things I"ve ever seen: Who knew there was a closeted subculture of people pretending to be paraplegics?
  30. The movie isn’t dead on arrival, like Snyder’s over-reverent "Watchmen." But it’s pleasure-free.

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