New York Magazine (Vulture)'s Scores

For 2,344 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 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Time Out
Lowest review score: 0 The Mummy
Score distribution:
2344 movie reviews
  1. It’s probably no great loss, but here and elsewhere the seams show. And in this sort of movie it’s often more fun before we get our bearings and have time to say, “This makes no sense.”
  2. The director seems to be drawing a line from the horror of the war years to the infantilism of the Boomers and rock; the father lost his innocence, and the son froze his.
  3. As a onetime dramaturg and Brechtian, I enjoyed the chin-wags and the glimpses of Streep in rehearsal--especially her quivering admission that she can't bear the thought of anyone seeing her process.
  4. Kick-Ass is a compendium of all sleazy things, and it sings like a siren to our inner Tarantinos.
  5. Dredd 3-D places you firmly in an unreal, dreamlike world and rouses you with its unexpected grace and its rhythms and its movement. The plot ceases to matter after a certain point: This is a great big beautiful music video, and there's nothing really wrong with that.
  6. I was happy watching these actors, happy going behind the scenes of a sober classical music ensemble instead of another druggy rock group, happy hearing Beethoven for a couple of hours. The movie is haut-bourgeois to the bone, but so am I: Let's hear some chamber music and have a little laugh and a cry!
  7. A loose-limbed documentary about the hip-hop D.J. scene that, for know-nothings like me, is highly informative without being in the least academic.
  8. Van Warmerdam has a way with images that are both playful and horrific, and you may find yourself chuckling at Borgman as much as you recoil at it. It’s destined for cult status.
  9. It’s overbaked art-pulp. You’re always thinking, What fresh horror is around the next bend?
  10. In this otherwise rather schematic swatch of social catharsis, Brazil's Fernanda Montenegro gives the best performance by an actress I've seen all year.
  11. Rust and Bone doesn't come together, but it's a triumph of non-actorish acting.
  12. If Amy Pascal loses her job over this, it will be an outrage. The only thing about which we disagree is The Interview. She hated it; I think it’s a blast.
  13. It’s not just vérité--it’s battlefield vérité; it triggers your fight-or-flight instincts.
  14. As much of her (Steen) as there is, you'll want more.
  15. Wahlberg grows into the part. He may not be right as a precocious, self-loathing intellectual, but he's very much at home playing a dickhead who's gotten in too deep. And as The Gambler becomes less about its protagonist’s dashed intellectualism and more about the gathering danger of his predicament, the film gains power.
  16. Haneke’s integration of the ways we communicate and conduct our lives via phone and laptop feels uniquely effective.
  17. The film has weight in ways that you don't quite expect. Or maybe it's just Scott's subdued, slow-burn performance, which may have intended to convey stupidity but actually helps create an overall mood of convincing despair.
  18. As a mogul, Besson doesn’t worry about pleasing his corporate masters. He and his visual effects supervisor, Scott Stokdyk, can expend all their energy on topping themselves and making each other laugh. The movie is like a wave that makes you want to yell, “Cowabunga!”
  19. In the main 13th makes connections that haven’t been made in a mainstream documentary before.
  20. It has vivid characters, a strong sense of place, and a free-floating hopelessness that never precludes the possibility of meaningful action.
  21. It isn’t much of a movie (unless your aesthetic was formed in high-school science class), but it will be hugely informative to aliens who land on this planet in a thousand years and wonder why there’s no welcoming committee.
  22. The Incredible Jessica James is a little odd duck of a film, an old-fashioned romantic comedy that’s decidedly modern in its frame of reference, a character-driven piece that never lets us too deep into its protagonist, a movie as pleasant as it is fleeting.
  23. There are no bad guys, and no real violence. Horror fiends looking for cheap thrills may be disappointed. But those with a flair for the offbeat might find themselves unnerved and riveted.
  24. 10 Cloverfield Lane does what it needs to do: make you sit and squirm and want very badly to know. It has the appeal of suspense radio plays from the '30s and '40s and even a touch of Orson Welles’s most infamous Mercury Theater broadcast.
  25. The movie's evolution from somber spiritual torment to icky body horror to fetishistic sex to wild lyricism (vampires pogoing off buildings) to Grand Guignol splatter is exhilarating.
  26. The stage is set for a wonderful movie, and yet The Luzhin Defence, based on the Vladimir Nabokov novel The Defense, never courts greatness.
  27. It's a pure (guilty) pleasure trip. That's pleasure, De Palma–style -- twisted, dirty, voyeuristic, a vast glissando of amorality.
  28. He's [Pitt] not particularly inventive - with his appraising eyes and a toothpick in his mouth, he's like Redford without the edge - but he uses his stardom cannily, to kill with softness.
  29. Taken--in the hands of director Pierre Morel (District B13), with Neeson in nearly every shot--works like gangbusters. The Frenchies have made the filet mignon of meathead vigilante movies.
  30. Bigelow and Boal don’t bring much moral complexity to Detroit. They don’t illuminate the psyches of the cops or suggest the fundamental feeling of weakness that drives people to violence. They don’t shed much light on Dismukes’s inaction or subsequent thoughts about what he didn’t do. What Bigelow does — incomparably — is put us in that room with those people at that moment.

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