New York Magazine (Vulture)'s Scores

For 2,042 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 Kids Are All Right
Lowest review score: 0 Fantastic Four
Score distribution:
2,042 movie reviews
  1. The people who made this movie have either seen too much mayhem -- or they haven't seen any.
  2. Stupefyingly lackluster.
  3. Sinister did something I thought would be impossible: It made this lifelong horror freak abhor horror movies.
  4. There's only one surgery scene, but it's the heart (and kidneys) of Turistas. The rest -- especially the incoherent action -- falls well below the mark set by the last Americans Abroad torture-porn picture, "Hostel."
  5. The carnage (with its computer-­generated splatter) is meant to be campy fun, but it’s so offhand that there’s less suspense than in an Austin Powers movie.
  6. This twisty-turny film seems too enamored of its twisty-turniness to give us characters we can latch onto.
  7. A Haunted House 2 is not a movie. It is a nervous breakdown.
  8. Throughout The Cobbler, Sandler himself seems more invested than he’s been for a long time. But the rest of this ghastly movie lets him down.
  9. A movie like Pixels should be stupid and energetic, not stupid and lifeless.
  10. A Good Day to Die Hard is the opposite of a labor of love. It has no good lines, no crackerjack fights, and only one mildly orgasmic revenge killing. It will satisfy no one — high-, low-, or middlebrow. Die Hard is finally in its death throes.
  11. What is the great Gene Hackman doing in the dingbat con-artist comedy Heartbreakers.
  12. It’s just plain offensive — and not all that well made, either. No Escape takes the casual xenophobia of something like Taken, crossbreeds it with something altogether more noxious, then asks us to kick back and enjoy the ride. We don’t. We can’t. And the ride isn’t that great to begin with.
  13. Ridley Scott’s Robin Hood is a pompous, interminable hash.
  14. In The Best of Me, the melodrama feels so hurried and half-baked that the end result isn’t just disappointing. It’s borderline infuriating.
  15. John Herzfeld, the writer-director, attacks America's lust for voyeuristic sensationalism by aping the very tactics he decries.
  16. If Rock ever comes to his senses, he can host Saturday Night Live and skewer this damp, gag-riddled civics lesson of a movie.
  17. Appalling in ways that you could never have anticipated. The movie mixes mismatched-buddy high jinks with scenes of carnage.
  18. Before I go into the grinding awfulness of Dumb and Dumber To, let’s get one damn thing straight: The original Dumb and Dumber is a clasick.
  19. Writer-director Billy Morrissette doesn't have much feeling for satire -- or for Shakespeare. This is a comedy for people who couldn't make it through the CliffsNotes.
  20. It offers a deranged hodgepodge of tones and acting styles and strange mannerisms and affectations and narrative dead ends that feels like it was assembled by a committee of bipolar extraterrestrials.
  21. A wan little neo-noir whose intricacies inspire more tedium than suspense, The Bag Man is a good example of how to waste a solid cast.
  22. You really have to screw it up to dishonor the memory of a movie as shitty as the original "Friday the 13th." Heads should roll.
  23. Familiarity is not always a bad thing, though. "The Conjuring" breathed new life into old clichés; it showed that those creaking doors and possessed closets and white-robed figures still had the power to scare us. But that was a movie made with sensitivity and purpose. The blunt, lifeless Annabelle, on the other hand, sucks that life right back out.
  24. Began life as a standard sci-fi horror script before mutating into the unfunny mess it now is.
  25. There’s only one good scene in True Story, though it’s the most flagrantly absurd.
  26. Nobody was expecting much from Paul Blart: Mall Cop 2, but did it have to be this unimaginative and lifeless?
  27. Most movies take a while to slip you into a stupor. All the Pretty Horses makes you groggy right away. Set in 1949, it's a lackadaisical series of vignettes apparently culled from a much longer movie that never made it to the screen. Be thankful for that.
  28. Veering between tonal and narrative extremes, it's the kind of film that makes you long for the grim pomposity of something like "Signs."
  29. In a vile-movie competition between Michael Haneke’s "Funny Games" and Vadim Perelman’s The Life Before Her Eyes, Haneke’s film would win--but only because he’s working so much harder to be noxious.
  30. Dr. Seuss's The Lorax [sic] isn't Seussian in spirit. It's shrill and campy and stuffed with superfluous characters.

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