New York Magazine (Vulture)'s Scores

For 2,132 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Straight Outta Compton
Lowest review score: 0 Arthur
Score distribution:
2132 movie reviews
  1. It left me bemused instead of moved, but true Andersonites will likely float away in a state of nirvana.
  2. Séraphine is one of the most evocative films about an artist I've ever seen--and in its treatment of madness one of the least condescending.
  3. Profoundly different from the others. On the cusp of their half-century mark, Apted's British subjects have accommodated themselves to what they were, what they are, and what they will be.
  4. Milk is one of the most heartfelt portraits of a politician ever made--the man himself remains just out of reach.
  5. If you've never experienced a Bollywood musical before, seeing Lagaan will be like watching "Gone With the Wind" without ever having seen a Hollywood movie.
  6. It elevates female sacrifice into an aesthetic. The movie isn't about suffering, really. It's about how you look when you suffer, how you dress up for it. Style is all.
  7. Anderson says that as a child she dreamed of making something that had never been made before, and, with the help of some gifted artists and editors and camera-people, she has done it again — with bells on. The only thing that would make it more pleasurable would be Anderson narrating it in person.
  8. My Winnipeg is overloaded and digressive--it comes with the territory--but it's also grounded in a place, Maddin's Manitoban hometown, and it's painfully engrossing.
  9. Sean Penn is so frighteningly good in this movie that he outdoes even the best of his earlier work.
  10. Hats off to Olivier Assayas's plain yet hauntingly beautiful Summer Hours, a true--albeit nonsecular--meditation on art and eternal life.
  11. Crosses the blood-brain barrier like … like … whatever the drug is, I haven't tried it, thank God. The movie eats into your mind - ­slowly.
  12. If high-toned futuristic time-travel pictures with a splash of romance float your boat the way they do mine, you'll have yourself a time.
  13. This Romanian movie defies categorization--it's halfway between a black comedy and a Fred Wiseman documentary. And it haunts you like the ghost of any dead person you've ever ignored.
  14. The script, instead of being what we tolerate in order to savor the visuals, is a delight all by itself.
  15. Against a radiant backdrop of decay and rebirth, nothing needs to be said; everything in this lovely film is crystalline.
  16. Before it loses its fizz--maybe two thirds of the way through--Volver offers the headiest pleasures imaginable.
  17. The Square is inner-world-shaking.
  18. Payne is too acerbic - maybe too much of an asshole - to settle for easy humanism. But he's too smart a dramatist to settle for easy derision. Mockery and empathy seesaw, the balance precarious - and thrillingly so. It's the noblest kind of satire: cruel and yet, in the end, lacking the killing blow.
  19. His (Sidney Lumet) touch in Before the Devil is so sure, so perfectly weighted, that it’s hard to imagine him capable of making a bad movie. The thing is just enthralling.
  20. Now, at last, comes a fun dystopian sci-fi epic — a splattery shambles with a fat dose of social satire and barely a lick of sense. It’s Bong Joon-ho’s Snowpiercer, which must be seen to be disbelieved.
  21. Leigh has been giving actors their tongues for decades, and of all his films, Happy-Go-Lucky is the easiest, the least labored.
  22. The Pinochet Case is a searing album of remembrance from those who, having survived, suffered most.
  23. Beautifully directed by Phillip Noyce, the film -- is a full experience, a love story and a murder mystery that expands into a meditation on the deep deceptions of innocence.
  24. Despite its downbeat context (a plague at its height), the movie is a crowd-­pleaser — graceful and funny enough to distract you from its gaps and elisions.
  25. In the end, the movie is more than the sum of its fragments. The montages are intense, the images ravishing. The movie is tactile. When you finally feel this place, you understand just how little you understand.
  26. The end of The Cove is as rousing as anything from Hollywood. Manipulative? Sure--but isn't that fitting? Capitalism has driven an entire village to massacre dolphins and keep its work hidden.
  27. That's a knock on ­Bujalski -- that his characters exist in a vacuum, with few references to popular culture or politics or much of anything, really. Of course, one artist's vacuum is another's poetic distillation, and there's something about Mutual Appreciation (which is shot in an unassuming black and white) that spoke more directly to my inner slacker than any film since, well, "Funny Ha Ha."
  28. This amazing, maddening film presents a series of extended, mostly static, terrifying tableaux of despair, poverty, and decay.
  29. Moodysson captures exactly the preening narcissism and gumption of these frazzled would-be revolutionaries trying to wriggle out of their bourgeois straitjackets.
  30. Spellbindingly original -- Like the wild orchid, Adaptation is a marvel of adaptation, entwined with its hothouse environment and yet stunningly unique.

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