New York Magazine (Vulture)'s Scores

For 1,654 reviews, this publication has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 1.5 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 Only God Forgives
Score distribution:
1,654 movie reviews
  1. The only reason to check out Big Bad Love is Debra Winger, last seen onscreen in 1995.
  2. From the look of this film, its prime appreciators will be heavy-metal futurist dweebs.
  3. Spacey is turning into another Robin Williams: Between this film and "Pay It Forward" he cops the prize for the Sappiest Performances by an Actor Previously Known to Have Great Talent.
  4. A stinker.
  5. The film's Russians are all played by French and Australian actors. Too bad Butterworth didn't find a Russian to play the Brit. That would have made the inauthenticity complete.
  6. It's as if an obsessed movie nut had decided to collect every bad war-movie convention on one computer and program it to spit out a script.
  7. There's less here than meets the eye or ear: We're a long way from Jonathan Swift, and any old episode of "Cops" is bound to be more engrossing, not to mention "real."
  8. Gets points for oddness. Excellence is another matter.
  9. The dance he (Wang) ended up with is on the wrong lap.
  10. Sandler being Chaplinesque isn't pretty; he's just doing his smart-aleck slacker shtick with a moister eye.
  11. O
    It's a doomy dirge of a movie, in which the protagonists, or at least the actors who play them, aren't equipped to handle their outsize passions.
  12. The only note of authenticity in the movie comes from Ian Holm, playing the royal physician. What is this nuanced performance -- at least until the final fireworks -- doing in this twaddle?
  13. Movie has been upstaged by the sum of our fears. The staunch heroics, frantic presidential huddles, and hairbreadth rescues all seem tinny and escapist, too Cold Warrior–ish, for what's really going on now.
  14. I've never been sold on this anti-TV thesis. It's snooty. It assumes we in the audience have seen the light denied the lower orders. Invariably, the people in these movies who are rendered blotto by the tube are dingbat common folk. EDtv takes this notion to a new low.
  15. The best way to kill the spirit of the sixties is to sanitize it with preachiness, which is what happens here. That rock-cock collection might as well be a box of baseball cards.
    • 69 Metascore
    • 30 Critic Score
    The general insensitivity of the atmosphere gets one down after a while. None of these people go together: Friends don't seem like friends, lovers don't seem like lovers. In brief, it's not enough just to have bad taste. You have to have talent, too.
  16. You would have to have been born yesterday to miss the switcheroos and reeking red herrings planted in this pulp.
  17. Sordid Thelma & Louise-ish spree, which also has certain affinities with Breathless but would be better termed Affectless.
  18. Based on an interminable 1994 international bestseller by Louis de Bernières that I found impossible to make my way through. The movie duplicates exactly my experience with the book, although I must say I was thankful to be spared serial outbreaks of hearty Greek dancing.
  19. The role plays all too easily into De Niro's worst current habits. He's dulled himself out in the service of a phony kitchen-sink pseudo-realism. For De Niro, less has become less.
  20. I Am Sam is about as connected to the real world as Dr. Seuss's Green Eggs and Ham, from which its title is derived -- in fact, in the realism department, Seuss may have the edge.
  21. He (Gibson) ramrods his way through the bugged-out hysterics as if he were appearing in a movie that actually made sense. What a brave heart.
  22. He's (Gandolfini) the true star of the film, and his stardom is achieved in the most honest of ways, through the sheer brute force of his talent.
  23. Since this is a coming-of-age movie about a poor rural kid who grapples with the big city, it would be nice if its protagonist weren’t such a lummox.
  24. An exuberantly garish French movie.
  25. The Grisham-esque murder-mystery plot got so scrambled that, finally, it’s anybody’s guess what the filmmakers intended.
  26. Eddie Murphy and Robert De Niro have made any number of lame movies on their own, but there's a special wastefulness connected to their first co-starring vehicle, Showtime: It's lameness times two, and then some.
  27. Probably the most garishly masochistic star turn since Mel Gibson's "The Man Without a Face." It could also be the most baroque chick flick ever made, the freakazoid spawn of "An Affair to Remember" and "The Matrix."
  28. Being a cultural icon is a time-limited occupation; after a while, the culture moves on, and if you don't move with it, you end up with a movie like Anything Else.
  29. Elf
    I was looking forward to something a tad more satirical than this Hallmark card of a movie, which plugs innocence and goodness like they’re going out of style.

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