New York Magazine (Vulture)'s Scores

For 1,931 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Triplets of Belleville
Lowest review score: 0 She Hate Me
Score distribution:
1,931 movie reviews
  1. All Penguins of Madagascar wants to do is make you laugh at its silliness. It succeeds.
  2. 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.
  3. 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.
  4. 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.
  5. It's not fresh terrain for satire, yet most of the jokes play riotously well.
  6. Jackman has musical-theater chops and knows how to sell material this ham-handed; Kidman isn't quite as deft. I've always admired her gumption in working so hard to overcome a certain temperamental tightness--but that tightness has now spread to her skin.
  7. O
    It's a doomy dirge of a movie, in which the protagonists, or at least the actors who play them, aren't equipped to handle their outsize passions.
  8. Sets out to demonstrate that life is about more than having sex. Inadvertently -- I think -- it ends up showing us just the opposite. As if we didn't already know.
  9. Baldwin is so good in the coming-of-age gangster drama Brooklyn Rules that it's like watching a voodoo priest.
  10. Earth to Echo resonates, despite itself.
  11. A collection of swashbuckling set pieces with the hustle of a vaudeville show.
  12. O'Sullivan's movie could easily have been made 60 years ago. This is not intended as a compliment.
  13. The Awakening has the good sense to find a mood and stick with it. It's not afraid to take itself seriously. It'll send shivers up your spine, both as a thriller and as the melodrama it eventually becomes.
  14. The new Carrie isn’t atrocious — just flat and uninspired and compromised by the kind of mindless teen-movie “humanism” that De Palma so punkishly spat on.
  15. Anyone who sees the suffering faces of the victims in "Casualties" and "Redacted" knows that De Palma not only despairs over what he’s showing us but implicates his own medium--his own male gaze--in the crimes against nature.
  16. Of all the dumb megabudget "Die Hard"–like action pictures of the last few years (including that other White House Goes Boom movie, "Olympus Has Fallen"), this is both the most entertaining and the most inviting of viewers' input.
  17. It’s the kind of solid, small-scale, entertaining action flick we probably need more of these days.
  18. The people who made this movie have either seen too much mayhem -- or they haven't seen any.
  19. It’s all strenuously camp.
  20. The problem is that Allen is getting a bit long in the tooth to be playing a romancer-rescuer, and since he and Helen Hunt have a rather frigid actorly rapport, we have plenty of time to notice the awkward, and barely acknowledged, disparity in their ages.
  21. It's outlandish, hilariously overripe, and possibly sexist: You'd expect no less from Craig Brewer, the writer and director who made the passionate case for how hard it is out there for a pimp. But I loved the picture's tabloid energy and heart.
  22. It's a rich idea -- a Hartley-esque variation on the theme of American Innocents Abroad. And it works superbly until -- well, Grim's the word.
  23. Neil Young’s concept album turned concert tour turned movie, which is like nothing I’ve ever seen--at least not in an unaltered state.
  24. Cuban Fury has a surprising amount of fun with these acknowledged clichés. At times, the movie has the energy of an "Anchorman"-style spoof — a hilarious late-movie dance-off between Bruce and Drew takes on absurdist overtones, as they dance on car roofs and do increasingly impossible moves.
  25. Deliriously stupid romantic time-travel drama.
  26. Spirit's narration comes to us courtesy of Matt Damon, who, having played a horse's ass in some of his earlier movies, perhaps thought it wise to inhabit the entire nag this time around.
  27. It’s a genre-bending mash-up, a non-vampire vampire movie about class, race, love, and cruelty. It consciously seeks to marry its diverse influences in an attempt to present something between schlock and art house, between passionate gore and urbane chill. It contains multitudes, and not always all that well.
  28. "In the Company of Men," "Your Friends & Neighbors," and "The Shape of Things," at least held you. Possession piddles away as you're watching it.
  29. I've never understood why filmmakers construct romances in which the leads hardly spend any time together.
  30. Ryan Murphy’s jaunty screen version of Running With Scissors proves that nothing consecrates one's depiction of a narcissistic mother like having her embodied by Annette Bening. Bening's specialties are (a) insane people and (b) actresses.

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