New York Magazine (Vulture)'s Scores

For 1,926 reviews, this publication has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Cove
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,926 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. The dance he (Wang) ended up with is on the wrong lap.
  11. City of Bones isn’t the worst of its kind, but crap served with flair is still basically crap.
  12. Klaatu is a dream role for the beautifully blank Reeves, since he doesn’t even have to pretend to emote.
  13. 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.
  14. 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.
  15. This kind of reverence kills what it seeks to preserve. The movie is embalmed.
  16. Mostly stiff acting and intentionally flat, banal dialogue.
  17. The only reason to check out Big Bad Love is Debra Winger, last seen onscreen in 1995.
  18. 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.
  19. 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.
  20. Whatever its politics, Gimme Shelter fails on multiple levels.
  21. 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.
  22. It’s certainly not good. But it’s not entirely dire.
  23. Sam Rockwell strips himself down to pure appetite and has a buoyant spirit. But the film sure doesn't. It's bizarrely flat--it has no affect.
    • 51 Metascore
    • 30 Critic Score
    If the woman’s love is obsessive and needy, the story becomes stupid and painful, and that is what happens in The Object of My Affection, the Stephen McCauley novel that has been adapted for the movies with disastrous panache by playwright Wendy Wasserstein and director Nicholas Hytner.
    • 65 Metascore
    • 30 Critic Score
    This is a wan, shapeless, and amazingly conventional piece of work .
  24. You would have to have been born yesterday to miss the switcheroos and reeking red herrings planted in this pulp.
  25. A story this dense with incident, character, and history needs to breathe a little — think "The Lives of Others," or "Zodiac" — but Child 44 has no rhythm. It’s blunt, rushed, and scattershot. You're exhausted, bored, and confused by it at the same time.
  26. The movie spreads bad vibes like a virus.
  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. Zwigoff doesn't get the tone right, and the picture goes from reasonably amusing (if crude) to puzzling to boring to (when a campus strangler enters the picture) hateful.

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