New York Magazine (Vulture)'s Scores

For 2,275 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Mr. Turner
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
2275 movie reviews
  1. I hope I'm not raining on Beasts of the Southern Wild's deluge to say it doesn't always live up to its pretensions. There's a lot of unshaped babble and draggy landscape shots, and the music, so lovely in small doses, is numbing when it's ladled over everything.
  2. In The Flight of the Red Balloon, the great Taiwanese filmmaker Hou Hsiao Hsien uses Albert Lamorisse’s 1956 masterpiece "The Red Balloon" as a springboard for his own masterpiece--a distinctively modern and allusive one, yet so tender and plaintive that you understand what Hou is up to on a preconscious level.
  3. My Life As a Zucchini is a deft work of empathy, and unlike a few of its fellow animation Oscar contenders, it works on a more intimate scale, without a big message or master thesis to carry it to its conclusion.
  4. It’s not just vérité--it’s battlefield vérité; it triggers your fight-or-flight instincts.
  5. All I can is that I didn’t draw too many breaths during the last half hour.
  6. Polanski’s strongest and most personally felt movie.
  7. Belzberg doesn't intervene during the moments of violence, believing that the film can force social change only by showing the worst. If she is correct, then this film should move mountains.
  8. Amy
    Alternately thrilling and devastating, throwing you back and forth until the devastation takes over and you spend the last hour watching the most supernaturally gifted vocalist of her generation chase and find oblivion.
  9. The Edge of Heaven is powerfully unsettled--it comes together by not coming together.
  10. The Savages is a delightful movie--the perfect companion piece (and antidote) to the year’s other superb convalescent-dementia picture, "Away From Her."
  11. Drolly funny and rigorously executed, Corneliu Porumboui’s The Treasure offers a fine example of the conceptual boldness that characterizes much of New Wave Romanian cinema.
  12. What’s extraordinary about Tangerine is that it’s everything an entertaining, old-fashioned, mainstream Hollywood comedy should be but no longer is. That nowadays you have to get this kind of stuff via Sundance from directors using iPhones is a drag — the wrong kind.
  13. Narrated by Rhys Ifans with the dryness of a dessicated toad, Exit Through the Gift Shop is both an exhilarating testament to serendipity and an appalling testament to art-world inanity.
  14. In the Mood for Love has novelty value, I suppose, and plenty of pretty camera moves, but it's not really a movie you can warm to.
  15. As the political rhetoric between Washington and Tehran becomes dangerously overheated, Offside offers an intimate antidote: an affectionate glimpse into the cultural schisms that young Tehranis face every day. Western audiences will cheer the rebellious girls on.
  16. Knocked Up feels very NOW. The banter is bruisingly funny, the characters BRILLIANTLY childish, the portrait of our culture's narrowing gap between children and their elders hysterical--in all senses.
  17. The movie works smashingly, especially if you haven't seen its Hong Kong counterpart and haven't a clue what's coming. But for all its snap, crackle, and pop, it's nowhere near as galvanic emotionally.
  18. Kim exalts nature--life’s passage--without stooping to sentimentality. He sees the tooth and claw, and he sees the transcendence. Whether this is a Buddhist attribute, I cannot say, but the impression this movie leaves is profound: Here is an artist who sees things whole.
  19. For all its original touches, though, An Education follows a conventional trajectory.
  20. I've heard it said that Le Carré's work lost its savor with the end of the Cold War, which is as dumb as discounting "Coriolanus" because Romans and ­Volscians are no longer killing each other. Le Carré's subject was the national character and what happened to it under threat and in the absence of public scrutiny. It could hardly be, mutatis mutandis, more contemporary.
  21. Downbeat as it is, Half Nelson is a genuinely inspirational film--a terrifically compelling character study and a tricky exploration of the links (and busted links) between the personal and the political.
  22. The movie, a near-masterpiece, is a monument to intoxication: of sexual conquest, of military conquest, and, most of all, of cinema.
  23. Wiseman lets the material breathe in a manner unique to the subject.
  24. Harrowingly straightforward.
  25. It’s the difference between artistry and knowingness. About Schmidt doesn’t bring us deeply into the lives of its people because it’s too busy trying to feel superior to them.
  26. So deliriously chockablock with high-flying, color-coordinated fight scenes that non-aficionados may find it all a bit bewildering--a gorgeous abstraction. It sure is gorgeous, though, and it has a dream cast
  27. Demme is in such perfect sync with Young's music that even the painted prairie backdrop (and the painted farmhouse interior screen, complete with hearth, that slides in front of it) only makes you roll your eyes in retrospect.
  28. Nichols has a genius for making landscapes and everyday objects resonate like crazy, for nailing the texture of dread.
  29. It’s absorbing for a long while, at least half its two-hour running time — an evocatively photographed soap opera with actors who are impossibly gorgeous and yet human-looking — but it goes on and on, piling on twists, adding devices so clunky they’d have embarrassed most nineteenth-century problem-dramatists, refusing to jell despite the actors’ prodigious suffering.
  30. One of the sharpest and funniest movies about the music business ever made.

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