New York Magazine (Vulture)'s Scores

For 2,087 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Triplets of Belleville
Lowest review score: 0 Fantastic Four
Score distribution:
2,087 movie reviews
  1. Here are two action stars having fun; watching them work together as a team is a lot more entertaining than you might have expected. Try not to think too hard about it, and Escape Plan is stupid, stupid fun.
  2. They’ve taken "2001" and Tarkovsky’s "Solaris" and "Silent Running," mixed in stuff from save-the-earth pictures like "The Core" and "Deep Impact," and thrown in a cheesy climax out of "Alien."
    • 74 Metascore
    • 70 Critic Score
    Gorgeously shot and utterly respectful of the story of the fourteenth Dalai Lama, but it’s dramatically inert.
  3. While it was often all over the place, it worked, because directors Phil Lord and Chris Miller ladled out the chaos with such charm.
  4. Cold Turkey is a simmering piece of holiday dystopia with a good, scorching boil-over.
  5. It’s a rare “reboot” that transcends its studio’s money-grubbing. It has some Big Ideas.
  6. It's surprising that The Greatest Movie Ever Sold plays so entertainingly, given that Spurlock's quest is essentially beside the point.
  7. In the end, the movie is more than the sum of its fragments. The montages are intense, the images ravishing. The movie is tactile. When you finally feel this place, you understand just how little you understand.
  8. The new James Bond movie Spectre makes a satisfying final chapter to the four-film saga of Daniel Craig’s 007, even if that saga turns out to be less than the sum of its parts.
  9. To like Trance as much as I did, you have to revel in the senseless showmanship — in watching Boyle indulge his taste for cinematic flight, in this case teasing you with the old “Is this real or a dream?” number so artfully that you don’t care that much about the answer.
  10. The resulting film is amiable, pretty, and charming in all the right ways — even if it ultimately settles for a fairly typical tale of a late bloomer finding his way.
  11. For all the fecal matter flying around, and all the dick jokes, Bad Grandpa turns out to be an act of redemption: It’s the anti-Borat. And for all its flaws, it might just be the most heartwarming movie of the year.
  12. Weisz is an excellent Hypatia. For all her intelligence, there's something childish, off-kilter, vaguely otherworldly in her aura. She's just the type to be gazing into the heavens while around her all hell breaks loose.
  13. See The War Tapes. Maybe this picture can be worth a thousand lives.
  14. It’s when the Somalis spirit Phillips away in a closed lifeboat that Captain Phillips becomes a great thriller, in part because Barry Ackroyd’s camera is stuck inside with the characters and its jitters finally seem earned.
  15. All over the map, but it's worth enduring the botched gags, formula plotting, and even the racism to marvel at the genius of Robert Downey Jr.
  16. The movie is ludicrous, but Eastwood’s consistency is poignant. He has an agenda and sticks to it.
  17. Chinese Puzzle isn’t much of a story, but in leaning into and embracing its complications Klapisch is able to isolate little instances — exchanges, glances, fragments from which he can mine profundity. That may feel like a cheat, but it isn’t, because this is a world where the moment conquers all.
  18. The film does, however, have the best weapon in the world against the perception of slickness: an actress without a smidgen of actressiness.
  19. We basically know where Laggies is headed; the film is a soft, straight, easy pitch down the middle, story-wise. And it’s a light movie: You won’t get a particularly profound look at adults who act like kids from it.
  20. Powerful, uneven police drama.
  21. Occasionally you see a documentary and it hits you how much you don’t know about someone who was part of your mental landscape.
  22. Noé shoots his sequences in long, unbroken takes, and the unblinking horror that results is, I think, the opposite of exploitation. There has been so much lurid bloodletting in the movies that you might think nothing could faze us anymore. Think again.
  23. Surprisingly intimate and nuanced.
  24. Crudely ­powerful. You can object to the thuggish direction and the script that’s a series of signposts, but not the central idea, which is genuinely illuminating.
  25. The film’s brooding tension would probably work even without the recent tragedy of real-life events. But now, while uneven, the film is uniquely involving — right down to a final shot that will break your heart into a million pieces.
  26. A heartbreaking vérité documentary by Jennifer Venditti about a misfit Maine teenager--a film that makes you think about (and question) what fitting in really entails.
  27. Welcome to Me might as well have been called The Kristen Wiig Show, for better or for worse. It makes a splendid showcase for the brilliant actress’s brand of mousy absurdism, and for her ability to modulate tone. The film dances between hilarity and disquiet, between goofiness and pathos. But I’m not even sure it can be called a movie; it feels like a setup and a character in search of a story.
  28. It’s all big, dumb, broad strokes, with plot points visible from miles away. But it works where it matters: The music is fantastic, and the film invests you in its central relationship.
  29. Unlike the '70s Italian cannibal movies, The Green Inferno doesn’t have a mondo vibe. It’s artfully made and acted with skill.
  30. Wingard is also clearly enamored of the synthesized soundtracks of Giallo and John Carpenter films, and here, he turns that into a whole thing, too: A mix Anna makes for David becomes a plot point, giving the director an excuse to practically drench his scenes in dreamy electronica.
  31. It’s funny, clunky, earnest, and barely credible, but it’s all of a piece.
  32. The Maze Runner only answers some of the questions it so marvelously sets up. And while I probably now know too much about the story for it to work a similar magic next time, I find myself genuinely anticipating the next one.
  33. What makes Fracture hum is the way Hopkins bares his teeth, twitches his nostrils, and trains his shiny pinprick Lecter eyes on his co-star.
  34. The kind of documentary that’s smart enough to step back and let its charming subject take over. It won’t break new ground, but it’s not lazy or generic.
  35. Any war picture in which the heroine stalls the villain with a quiet, painstaking tea ceremony until the wind shifts direction and the good guys can firebomb the bad guys into oblivion is too ineffably Zen not to love.
  36. Pierrepoint is worth seeing for Shergold's attention to process and for all the ghoulish details.
  37. Excitingly convoluted.
  38. The first act is a thing of beauty and the second, good enough. Shame about that third act, though, and the ending that retroactively diminishes everything that preceded it.
  39. The film is a canny balancing act, making Koch's arrogance so plain that you quickly move past it and concede that he accomplished remarkable things for a city that was broke and in chaos and with much of its housing stock in ruins.
  40. There's a huge change that turns the nihilistic carnage of Craven's original into something suffused with old-fashioned family values, so that we can relax and enjoy watching the bad guys get beaten, skewered, dismembered by garbage disposals, and tortured with microwave ovens.
  41. Keys takes a scattershot approach to Cuban music, filming not only specific artists, like Los Cohibas and Los Zafiros, but also street musicians in the barrio and just about everywhere else he can find them.
  42. Morel will inevitably be compared to John Woo, whom he trounces. He has fewer mannerisms (no damn doves) and a keener eye; his fastest, most kinetic shots flow together like frames in a flipbook.
  43. The Awakening has the good sense to find a mood and stick with it. It's not afraid to take itself seriously. It'll send shivers up your spine, both as a thriller and as the melodrama it eventually becomes.
  44. Here’s a movie about the efforts to bring the soldiers stationed at Auschwitz to justice, and it’s strangely light on its feet.
  45. Gray knows how to sell the idea of unalterable destiny with a car chase: That’s the mark of a real action director.
  46. Unfriended really does use everything teens cherish about their technology lifestyle against them. It’s a mean, potent little movie.
  47. In the end, perhaps the most touching quality of this film is its low-key, but sensitively rendered portrait of a young, awkward child who hasn't quite managed to figure his way out in the world yet.
  48. As with all Ozon's work, Time to Leave resounds with grace notes. The wide-screen cinematography by Jeanne Lapoirie offsets (or maybe disguises) the movie's narrow scope, and there's something private--withholding--in Poupaud's beauty that gives his misanthropy a touch of mystery.
  49. Caine makes a grave, soulful vigilante avenger, and first-time director Daniel Barber gives the film a dank, streaky, genuinely unnerving palette.
  50. Cosmopolis is often beautiful, but at times it feels like a movie sealed off from itself.
  51. The movie is semi-infantile camp but often riotous.
  52. 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.
  53. The movie is too long (nearly two hours), but the acting--Gere, Molina, the peerlessly edgy Hope Davis, Marcia Gay Harden as Irving's loopy Swiss-German painter wife--keeps you giggling. And the story has something up its sleeve--a dream finish.
  54. It’s funny, fast, and charming.
  55. If you’ve never seen a Johnnie To crime picture, Exiled is a simple, stylish, and utterly delightful introduction.
  56. Jake Paltrow's comedy takes familiar male-angst material and turns it into a painful--but fun--string of jokes.
  57. This is a deceptively weird movie. There’s always been an immediacy to Jacquot’s visual style; he likes to follow his characters closely, and he gets performances that are energetic but quiet.
  58. As in many a French movie, especially crime movie, the philosophe and the crook turn out to be each other’s mirror image.
  59. Although Catfish is opportunistic, even borderline exploitive, it gets at-by indirection, through the back door-the magic-carpet aspect of this scary new medium. Real people are so complicated and irreducible, you know?
  60. I’m only half-kidding when I suggest that you see the movie but leave (especially if you have kids) at what’s obviously the end of the first act. You’ll still get the dissonances, ambiguities, and portents of doom, along with much that is pure enchantment. And you won’t leave thinking the movie had been made by the Big Bad Wolf.
  61. A delightfully goofy slapstick cartoon with a surprisingly dark heart.
  62. It’s both lowdown and effete, a jamboree of whoopee jokes and sick wit.
  63. Early on, writer-director David Michôd serves up "Trainspotting"-like tricks and narration that is beguiling, if rarely apropos. But the actors are something.
  64. Lisa Kudrow does a dazzling turn as a guidance counselor who's a flickering mixture of sympathy and narcissism. But the movie belongs to Stone, that gorgeous, husky-voiced redhead.
    • 70 Metascore
    • 70 Critic Score
    Mamet has to learn to trust the camera more than he does; he has to stop trying to control everything with language; he has to let loose a little and just give in to the fluency, the ease, the free-flowing pleasure of making a movie.
  65. A poky but blood-freezing throwback to the gothic horror films of the seventies, when ingénues moved tremulously down dark corridors without holding digital video cameras.
  66. Solondz conjures a world that's rotting away from the inside, in which only the children--freckle-faced Dylan Riley Snyder and Emma Hinz--weep over the loss of moral authority. This might be some kind of goddamned masterpiece, but I'm not sure I want to watch it again to say for sure.
  67. This wistful little film is at just the right temperature.
  68. A fine example of what a filmmaker can achieve when she takes on a great subject and lets it play out with all the respect and attention it deserves.
  69. Perhaps the film’s most telling part comes during the deep dives themselves. When Cameron finds himself alone in his submersible, crammed into a little turret from which he can watch and film the world around him, the bravado fades away, and he becomes a little kid again.
  70. It goes soft, but even a gelded traditional farce is more potent than most of our slob comedies.
  71. Caine is burlesquing his own iconography and enjoying every minute of it. He hasn't lost his dignity, though; it takes a lot of self-possession to act this blissfully silly. He even looks good with bad teeth.
  72. It is remarkable, however, that The Stanford Prison Experiment works as well as it does, and for as long as it does. Crudup and the young cast (particularly Angarano) deserve much of the credit.
  73. A collection of swashbuckling set pieces with the hustle of a vaudeville show.
  74. You can find fault with virtually every scene in Luhrmann’s The Great Gatsby — and yet in spite of all the wrong notes, Fitzgerald (and the excess he was writing about and living) comes through. The Deco extravagance of the big party scenes is enthralling. Luhrmann throws money at the screen in a way that is positively Gatsby-like, walloping you intentionally and un- with the theme of prodigal waste.
  75. Wasikowska's Jane is as watchful as only a damaged soul can be, and, when challenged, frighteningly fast.
  76. The even-tempered, exceedingly rational “El Doctor” seems more laudable than Eastwood and Bronson combined, especially in light of the Mexican government’s notorious ineptitude and corruption.
  77. Moment to moment, Sleepwalk With Me is smooth and very entertaining, but it's arrested somewhere between fiction and autobiography.
  78. Fanning is a child actor with a grown-up soul, and every move, every breath, seems mysteriously right.
  79. Delicate, wrenching, occasionally vexing.
  80. There’s a lot of cartoonish potential in Snitch, but director Ric Roman Waugh (who previously made the excellent prison drama "Felon," another exercise in somber desperation) seems intent on trying to sell the movie as a more serious enterprise. And amazingly, the gambit works.
  81. The movie doesn't quite come together, but it's full of smart, cynical talk, and it's very entertaining.
  82. 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.
  83. More fun than any civilization’s fiery extinction should ever be, Paul W.S. Anderson’s Pompeii 3-D is gloriously exciting kitsch – a poor man’s "Titanic" crossed with an even poorer man’s "Gladiator."
  84. For all its original touches, though, An Education follows a conventional trajectory.
  85. The confusion in For a Good Time, Call… is delightful, the phone-sex talk sweetening the vibe. Justin Long is peerlessly funny as the girls' gay pal, but the movie belongs to Graynor, who's like Sandra Bullock with a touch of Ginger Rogers–y brass.
  86. It's a different sort of experience: a stately, somewhat plodding but endurable science-fiction saga.
  87. It’s an inviting, approachable world that Murdoch creates for us — still a total fantasy, of course, but one with a veneer of plausibility. Get on its wavelength, and you’ll be utterly charmed. Don’t, and you’ll run screaming from the theater.
  88. For all the wizardry on display, Hugo often feels like a film about magic instead of a magical film.
  89. There are a couple of hundred instances in which Johnson or her actors could take condescending short cuts and slip into white-trash stereotypes, but I didn't see any - only gifted performers vanishing into their characters, refusing to pass judgment.
  90. In political terms, True Crime is a far cry from "Dirty Harry" -- it actually stands up for due process of law. In Hollywood, I believe this is known as mellowing.
  91. So deliriously chockablock with high-flying, color-coordinated fight scenes that non-aficionados may find it all a bit bewildering--a gorgeous abstraction. It sure is gorgeous, though, and it has a dream cast
  92. It all works on the level of a sprightly sitcom: lesbianism for the Lucy-and-Ethel crowd.
  93. I was blissed out during much of To Rome With Love, but I have to acknowledge its creepy side.
  94. Every generation has to discover the same clichés that were drummed into previous generations, and kids could do worse than to learn them from this film.
  95. It turns out to be absolutely delightful.
  96. [A] compelling film touching on the perils of being young - that's it, merely young - in a culture without justice.
  97. Eastwood's earnestness has its own stoic charm. There's something nutty but also heroic in how he plays this macho-man-with-the-heart-of-a-woman premise with a straight face.
  98. On its own terms, Bernie is smoothly made and reasonably entertaining, Linklater doing his Austin-based best not to condescend to the locals - at least the East Carthage locals.

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