New York Magazine (Vulture)'s Scores

For 2,183 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The World's End
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
2183 movie reviews
  1. Truly, this is manna from hell.
  2. Buoyed by Chopin, Schubert, Schumann, and more, Seymour: An Introduction is lyrical without getting fancy, its director plainly rapt.
  3. This is more social anthropology than psychology. 56 Up isn't concerned so much with opening up individual lives as it is with showing us how the journey of an ordinary life - or over a dozen ordinary lives - can offer insights into our own, and into society. The effect is often profoundly moving, but you can't help but feel at times like there are other stories here you're missing.
  4. Up in the Air is poised to be a smash, and Clooney--slim, dark, perfectly tailored--glamorizes insincerity in a way that makes you want to go out and lie.
    • 83 Metascore
    • 80 Critic Score
    The best movie ever made about a man of God -- which is to say, the most honest and morally the most ambiguous.
  5. I don't mean to unduly target Kill Bill Vol. 2 --it's certainly no worse than most of the blam-blam fare out there. But what I crave now are movies that speak to me in a different way about violence, that acknowledge the fact that real people are harmed.
  6. One of the letdowns of Vera Drake is that once Vera is arrested, we lose her voice.
  7. Lake of Fire centers on abortion, but Kaye understands that while dead fetuses are the hook, the agenda covers the whole life cycle.
  8. 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.
  9. When it comes time for some of the girls to flee, the result is one of the most emotionally satisfying of all prison breaks.
  10. No filmmaker I know has gotten as close to a professional athlete as James Toback gets to Mike Tyson in his new documentary.
  11. You can't make this stuff up. You can, however, capture it on film for all time. Trouble the Water is ineradicably moving.
  12. 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.
  13. 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.
  14. 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.
  15. Certainly for any fan of Cave’s, 20,000 Days on Earth makes for a creative, enthralling journey through the man’s world.
  16. 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.”
  17. Ineffably sad - yet there's almost no loitering. The film is crisp, evenly paced, its colors bright, as sharp as the winter cold.
  18. Venus is worth seeing for the scenes between O’Toole and Vanessa Redgrave as the woman he abandoned--the mother of his children.
  19. 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.
  20. The movie doesn't quite jell, but you'll feel its sting for hours.
  21. The Deep Blue Sea is not a showy or pronounced movie. Open yourself up to it, however, and it might destroy you.
  22. 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.
  23. 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.
  24. Spacious, headlong entertainment.
  25. Ralph Fiennes gives one of the year's subtlest, yet most exciting, screen performances.
  26. 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.
  27. 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.
  28. Parts of this film are as blandly lulling as a mood tape, but at best it’s a literally soaring experience.
  29. 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.

Top Trailers