New York Magazine (Vulture)'s Scores

For 2,231 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Avatar
Lowest review score: 0 Movie 43
Score distribution:
2231 movie reviews
    • 52 Metascore
    • 50 Critic Score
    If more can't be found in Bond than this, I wouldn't object, in principle, to that tuxedo's being hung up in the closet for good.
  1. What Hooper can’t manage is to put us inside his characters’ heads — where we should be in a story that makes every surface suspect.
  2. Hit and miss, but its tone of lyric melancholy is remarkably sustained.
  3. Their amalgamations can be feats of genius, like their stoner-gumshoe farrago "The Big Lebowski." Or they can pretty much lie there, like much of their new, star-packed comedy, Hail, Caesar!, which is nothing but movie fodder.
  4. It's not a particularly complex (or pleasant) film, but along the way you get a glimpse of the kinds of neighborhoods that give birth to anti-Western fanatics.
  5. I know I'm going to bring down the room by saying I think it's just okay. Well, Jennifer Hudson is more than okay.
  6. This is the first big-studio action picture with some of the disgusted, bloody nihilism of the post-Vietnam era.
  7. By the time the film works up to its finale, what secrets it wants to reveal to us have become fairly obvious. But they still carry a dark charge; Diablo’s ultimate grisliness is impressive in its own way. And it might have worked, had the film not asked entirely too much of its young lead.
  8. Without a character, he’s (Pitt) back to that soft, appraising, Robert Redford Jr. stare, his mouth half open as if he’s about to speak but plainly with nothing on his mind apart from, “This is what a movie star looks like without any lines.” The ghouls are having deeper thoughts.
  9. The highest-gloss revenge porn imaginable. It’s hard to believe that so much visual elegance has been brought to bear on material so ugly, and yet the disjunction is intentional, and the film is all of a piece.
  10. Worth seeing, even if you're as ambivalent about it as I am. Its strength is in the way the drama creeps up on you.
  11. If you're in the mood for a liberal message movie in which the only surprise is no surprise, American Violet is the ticket.
  12. What's odd about Lady in the Water is that for all Shyamalan's histrionics, he's overcontrolled.
  13. The problem is that he — unlike most modern sci-fi directors, who throw so much CGI at you that they make miracles cheap — seems peculiarly stingy when it’s time to deliver.
  14. Lucas is a brilliant technician but a poor philosopher, and his lurchingly thought-out rendering of futuristic politics prevents the entire series from achieving the greatness to which it aspires. (You don’t make anything this big, for this long, without aiming for the planet Masterpiece.)
  15. Identity Thief is funny enough, but it needed to be darker, raunchier, and crazier to live up to the promise of its casting.
  16. Using Dickie Pilager as a stand-in for George W. Bush seems too coy a tactic for these scabrous times. For better or worse, we want the real--or at least, the "real"-deal.
  17. I've never understood why filmmakers construct romances in which the leads hardly spend any time together.
  18. The real-life story behind When the Game Stands Tall sounds amazing. But for all its exciting sports scenes, the movie version falls flat as drama.
  19. Good enough to make you wish it were better.
    • 63 Metascore
    • 50 Critic Score
    Anthony Hopkins and Antonio Banderas work with professional skill in a ludicrous vehicle.
  20. A mostly disposable, occasionally quite funny bromance distinguished at times by its earnestness.
  21. Spurlock's movie is an attack on our eating habits, but it's also a prime example of an all-American sport--making a spectacle of oneself for fun and profit. Spurlock, you'll be surprised to learn, is developing a TV spinoff, with himself as host.
  22. This is romanticism of a rather low order.
  23. The movie improves on Koppelman’s ungainly novel but is generally dreary and light on insight. Director Adam Salky steers clear of the usual addiction-movie clichés, but he doesn’t have anything to replace them with, so it’s as if all the connective tissue is gone.
  24. This is so often the problem with this genre — scary setups, followed by dopey resolutions — that you sort of want to give the movie a pass. But given its distinguished forebears, Insidious: Chapter 3 doesn’t quite live up to expectations.
  25. Watching the movie is at once electrifying and maddening.
  26. The film is a hodgepodge, and it closes with a whimper. But along the way some lucid voices slip through.
  27. Loach has gotten hold of a marvelous subject -- the invisibility of the working poor in the environs of the rich -- that keeps you watching despite all the banner-waving.
  28. I’d see a whole film about the adventures of Hader’s desperate-for-transcendence roadie. Unlike Popstar, it might actually go somewhere.

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