New York Magazine (Vulture)'s Scores

For 2,133 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Welcome to Leith
Lowest review score: 0 Enough
Score distribution:
2133 movie reviews
  1. Amusing and annoying in the wrong ratio, maybe 30/70.
  2. A sad, bad, parade of uninspired cameos and listless violence.
  3. From the look of this film, its prime appreciators will be heavy-metal futurist dweebs.
  4. The catastrophe is so pulped and exaggerated that uninformed audiences will safely assume that global warming is just a Democratic scare tactic.
    • 48 Metascore
    • 30 Critic Score
    Stupidity is also an issue in the independent film The Real Blonde, in which everyone seems to have suffered an IQ slippage of some 40 points.
  5. Boarding Gate was evidently made quickly and cheaply, and parts of it are fun. It’s too bad there’s no real viewer equivalent--that you can’t WATCH a film quickly and cheaply.
  6. 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.
  7. One reason Oculus feels so talky and monotonous in spite of its tricky syntax is that the space itself isn’t charged with malignancy. And the monster doesn’t compensate — it’s dumb, blockish, inert. The mirror doesn’t have two faces. It barely has one.
  8. Sort of a Flatliners for the sensitive indie-actor set, The Lazarus Effect is a grimy, dopey, confused thriller that wastes a very likable cast.
  9. For all of R’s allegedly humorous observations about the wasteland of the undead through which he walks, they feel tacked on — like somebody decided to turn this thing into a comedy at the last second.
  10. 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.
  11. The movie is endless even at less than 90 minutes. You could use it, "A Clockwork Orange" style, as aversion therapy for seemingly incorrigible con artists.
  12. I’m also guessing Kendrick did not want to come back. I’ve never seen her so flat-out bad — distracted, depressed, conviction-less. Anna, I still adore you, but you should have tried to make it work.
  13. Uninterested in competing on the bromance front, or even on the action-thriller front, this new Point Break often plays like an extreme-sports documentary with bits of narrative interstitials to carry us along.
  14. Von Trier has said he wanted to make a genre horror picture, but he couldn’t even come up with a decent metaphor: The climax is out of a Grade C hack-’em-up with people chasing each other through the woods with axes and knives.
  15. Were Shyamalan and Smith deliberately invoking the terror — now omnipresent in urban African-American communities — of lethal asthma attacks in children? I’m not sure how I feel about something so real and so wrenching in the context of a Grade D (unfit for human habitation) sci-fi picture like After Earth.
  16. No matter where he (Von Trier) begins, his dramatic compass drifts toward the same pole: the sexual humiliation of his heroine (How could Daddy let you do this, Bryce?). But it's hard to get too worked up over racial injustice when a director has the temperament of a Klansman.
  17. 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.
  18. The dance he (Wang) ended up with is on the wrong lap.
  19. City of Bones isn’t the worst of its kind, but crap served with flair is still basically crap.
  20. Klaatu is a dream role for the beautifully blank Reeves, since he doesn’t even have to pretend to emote.
  21. Maybe, in another time and place, and with different actors and a better director, it might have worked. But this thing collapses right from the get-go.
  22. 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.
  23. This kind of reverence kills what it seeks to preserve. The movie is embalmed.
  24. Mostly stiff acting and intentionally flat, banal dialogue.
  25. The only reason to check out Big Bad Love is Debra Winger, last seen onscreen in 1995.
  26. 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.
  27. It’s all so glancing and superficial that the movie doesn’t seem to have a present tense. It goes by like coming attractions. It is, however, a treasury of bad biopic dialogue.
  28. Whatever its politics, Gimme Shelter fails on multiple levels.
  29. No Strings Attached is so palpably calculated that you know if the camera had pulled back a foot from the bed in which Portman and Kutcher were pretending to have sex, you'd have seen their agents standing by beaming: proud parents, proud pimps.

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