New York Magazine (Vulture)'s Scores

For 2,133 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 Welcome to Leith
Lowest review score: 0 Enough
Score distribution:
2133 movie reviews
  1. One of the letdowns of Vera Drake is that once Vera is arrested, we lose her voice.
  2. Mustang breathes new life into the old trope by reconnecting it with the elemental horror that drives it. These aren’t just body snatchers; they take your soul, too.
  3. Lake of Fire centers on abortion, but Kaye understands that while dead fetuses are the hook, the agenda covers the whole life cycle.
  4. Gabe Polsky's ingenious, touching documentary Red Army looks at the other side of this myth, the seemingly faceless, allegedly robotic players who made up the Soviet team. There, Polsky finds a story even more epic and powerful than the Miracle on Ice.
  5. When it comes time for some of the girls to flee, the result is one of the most emotionally satisfying of all prison breaks.
  6. No filmmaker I know has gotten as close to a professional athlete as James Toback gets to Mike Tyson in his new documentary.
  7. You can't make this stuff up. You can, however, capture it on film for all time. Trouble the Water is ineradicably moving.
  8. James White looks like a simple film on its surface.... But despite the vérité-influenced stylization, writer-director Mond (whose own struggle with loss likely inspired some of this story) doesn’t seem too interested in realism or grit.
  9. Burton, bless him, constricts the space and concentrates the melodrama; he finds the perfect balance between the funereal and the ferocious. Above all, he treasures these ghouls: He digs both their bloodlust and their melancholy.
  10. Certainly for any fan of Cave’s, 20,000 Days on Earth makes for a creative, enthralling journey through the man’s world.
  11. Movies don’t always have to be “how things are.” When they’re as warm and rousing as Creed, they can be “how we want to make things.”
  12. Ineffably sad - yet there's almost no loitering. The film is crisp, evenly paced, its colors bright, as sharp as the winter cold.
  13. Venus is worth seeing for the scenes between O’Toole and Vanessa Redgrave as the woman he abandoned--the mother of his children.
  14. It’s a drama, and it smartly uses its little moments of humiliation to open our eyes to a world of delicate, but deep, injustice.
  15. The movie doesn't quite jell, but you'll feel its sting for hours.
  16. The Deep Blue Sea is not a showy or pronounced movie. Open yourself up to it, however, and it might destroy you.
  17. At times the movie’s small canvas feels momentous. They’ve found the inner tensions in people’s presentations of themselves in a way that’s positively Wallace-like.
  18. The most blessedly traditional sort of documentary. It follows the twisty, complicated rise and fall of Enron in steady, chronological order, from the mid-eighties to the present.
  19. Spacious, headlong entertainment.
  20. Ralph Fiennes gives one of the year's subtlest, yet most exciting, screen performances.
  21. That title would suit a melodrama with an emphasis on doomed love, which is not what Loach has crafted. There is a (chaste) love story and plenty of bloodletting. But what engages him and his screenwriter, Paul Laverty, is the growing tension between brother Irish rebels.
  22. If only Knightley had a co-star equal to her here: The 1995 edition of Colin Firth, come to think of it, would have been perfect.
  23. Parts of this film are as blandly lulling as a mood tape, but at best it’s a literally soaring experience.
  24. Linklater, whose previous movies include "Slacker," "Before Sunrise," and "Waking Life," may be the most versatile director of his generation. School of Rock is his most unabashedly mainstream movie by far, and yet it’s commercial in the best way.
  25. Abrams and his writers (Roberto Orci and Alex Kurtzman) have come up with a way to make you dig the souped-up new scenery while pining for the familiar--a good thing.
  26. Frances Ha is an irritant when it lingers. When Baumbach’s touch is more glancing — when he cuts before the humiliation — it sings.
  27. The movie is a political remake of "The Passion of the Christ," only more aestheticized: It's rigorous, evocative, and, in spite of its grisly imagery, elegant. It's a triumph--of masochistic literal-mindedness.
  28. It’s an unshowy, quietly intense drama with grace notes in every scene — and a hellish punch.
  29. Among the most enraging (documentaries) I've ever seen, and while it's fine and heartfelt and I commend it to those of you with strong constitutions, it is the film that has finally broken me.
  30. The documentary is solid as … as … an anvil. And if you can forget Spinal Tap (hard), it's also rather touching the way these 50-year-olds still have the forged-in-fire fortitude.

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