New York Magazine (Vulture)'s Scores

For 1,853 reviews, this publication has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% 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 Life of Pi
Lowest review score: 0 Movie 43
Score distribution:
1,853 movie reviews
  1. Guilt and alienation from Argentina’s Lucrecia Martel, so arty, enervated, and allegorical it might have been made by a European in the early sixties.
  2. I hate to damage so fragile a work with overpraise, but, gay or straight, if you don't see yourself in this movie, you need to get a life.
  3. Arnold's first feature, "Red Road" (2006), centers on another outsider, a woman who monitors security cameras. The film is formally brilliant, but it doesn't have the breathtaking openness of Fish Tank.
  4. Hot Fuzz is fun, and it's nice to see all the English character actors who aren't busy in Harry Potter films, but it lacks its predecessor's freshness.
  5. Django Unchained doesn't merely hit its marks; it blows them to bloody chunks. It's manna for mayhem mavens.
  6. It's an unusually funny, literate, worked-out script, and Mendes seems hell-bent on making the best Bond since "Goldfinger" - or the best, period, given that he exhumes Bond's old Aston Martin only to shoot it cheekily to pieces.
    • 81 Metascore
    • 90 Critic Score
    A brilliant, disturbing, but unstable and half-crazy piece of work.
  7. If all three of the women’s lives had come across with equal weight and artistry, the film, which glides back and forth among them, might have approached the symphonic. But only the Streep section truly inspires the kind of awe and terror that the film as a whole strives for.
  8. Like Pynchon’s novel, it’s a little insular, too cool for school. It’s drugged camp. Some of the plot points get lost in that ether — it’s actually less coherent than Pynchon, no small feat. It’s not shallow, though.
  9. Chris & Don is the rarest of documentaries: a realistic portrait of the human spirit.
  10. The movie isn't as world-shattering as those bouts: It's a regretful-old-warrior weeper.
  11. I like — as always — what Chandor attempts: not just to denounce capitalism but to explain in detail how people go wrong. But the overcomposed, sedate A Most Violent Year lacks the one thing it most needs: violence.
  12. I’ve seen Upstream Color twice and liked it enormously while never being certain of anything.
  13. Adam Shankman's movie of the Broadway Hairspray gets better as it lumbers along, but there’s something garish about its hustle--it’s like an elephant trumpeting in your face.
  14. This Bond is haunted, not yet housebroken, still figuring out the persona. In Casino Royale, the reset button has been pressed in the manner of "Batman Begins."
  15. Starred Up is an edgy, teeming thriller, brilliantly disorienting, making strange a world we thought we knew, at least from other movies.
  16. This supernatural comedy isn't just Allen's best film in more than a decade; it's the only one that manages to rise above its tidy parable structure and be easy, graceful, and glancingly funny, as if buoyed by its befuddled hero's enchantment.
  17. Watching it is like getting a peek behind the curtain. But it's frustrating, too, because the casting of Emadeddin as a murderer-in-the-making precludes any psychological depth. And as an indictment of social inequality, which is the film's calling card, Panahi inadvertantly makes a far better case for the haves than for the have-nots.
  18. This is by light-years the most entertaining movie of the year. How many apocalyptic sci-fi action extravaganzas leave you feeling as if the world is just beginning?
  19. May be at once too gimmicky and too sincere. But it still exerts an uncanny power: Like the best of Almodóvar’s work, it throws you a first-love sucker punch that will stagger your heart, mind, and soul.
  20. It's Lawrence who knocked me sideways. I loved her in "Winter's Bone" and "The Hunger Games" but she's very young - I didn't think she had this kind of deep-toned, layered weirdness in her.
  21. I've never seen another movie that so clearly expresses the sensual sustenance that great folk culture provides its practitioners.
  22. Elaine Stritch: Shoot Me is one of those showbiz docs that’s not exactly pleasurable but offers a penetrating glimpse — sometimes too penetrating — into what it means to eat, drink, and be contrary in the public sphere.
  23. This is one of the most galvanizing documentaries I've ever seen.
  24. Midway through, an eerier theme creeps in, all the more powerful for Herzog's lack of insistence. By the "end of the world" he means the end of the world.
    • 80 Metascore
    • 90 Critic Score
    Writer-director Richard Kwietniowski has never made a feature before, but this debut effort is a triumph, a buoyant and elegant achievement -- romantic and ruminative yet always precise, a comedy of longing propelled by a strong current of satirical observation.
  25. The sheer scale of the movie is mind-blowing--it touches on every aspect of modern life. It's the documentary equivalent of "The Matrix": It shows us how we're living in a simulacrum, fed by machines run by larger machines with names like Monsanto, Perdue, Tyson, and the handful of other corporations that make everything.
  26. Troell’s entrancingly beautiful Everlasting Moments uses surfaces--light, texture, faces--to hint at another world, a shadow realm.
  27. The vision is as hateful as it is hate-filled, but the fusion of form and content is so perfect that it borders on the sublime.
  28. For Greenfield, the Siegels are a brilliant metaphor for everything farkakte about the U.S. economy and the culture that shaped it.

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