New York Magazine (Vulture)'s Scores

For 2,271 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Fruitvale Station
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
2271 movie reviews
  1. Pretty much the whole movie is a series of poses, static and uninvolving, except for cinematographer Eduardo Serra’s lighting, which makes everything look convincingly Vermeer-ish. I’d like to see what he could do with Rembrandt.
  2. It's an entertainingly cynical small movie. Aaron Sorkin's dialogue tumbles out so fast it's as if the characters want their brains to keep pace with their processors; they talk like they keyboard, like Fincher directs, with no time for niceties.
  3. As a result, Jarhead is utterly predictable (boys endure tough training; boys encounter another culture and are baffled), studded with first-rate performances.
  4. Birdman is the very definition of a tour de force, and Iñárritu’s overheated technique meshes perfectly with the (enjoyable) overacting—the performers know this is a theatrical exercise and obviously relish the chance to Do It Big. But what comes out of the characters’ mouths is not so fresh.
  5. You can believe this man (Jones) left his family because he felt born into the wrong tribe. Now if only he had picked the right movie . . .
  6. Lindholm finds a unique balance between social and individual responsibility. There’s plenty of blame to go around.
  7. The tasteless bombardment that is Les Misérables would, under most circumstances, send audiences screaming from the theater, but the film is going to be a monster hit and award winner, and not entirely unjustly.
  8. The movie does get under your skin (the tremulous misfit girl, Hannah, might be a breakout role model), but the way it has been put together reminds me of those animal shows where the crew nudges the gazelles in the direction of the lions with multiple cameras standing by.
  9. The best new addition to the corp is Alan Cumming’s Nightcrawler.
  10. A scantily clad revenge memoir.
  11. It might seem as though there is nothing new to be done with the crime thriller, but The Code (La Mentale), directed by Manuel Boursinhac and written by Bibi Naceri, provides a new twist.
  12. The action-thriller The Accountant is laughable, but when you’re not laughing at it, you’re laughing with it. It’s enjoyable enough.
  13. A Joyful Noise overcomes. The big numbers are a gospel-pop-funk fusion that made me think, Hmmm, this seems very processed - before I noticed my feet were tapping of their own accord. How can you resist that wah-wah funk guitar?
  14. Secretary is deeply conventional: Edward and Lee accept their bondage as the way to a more fulfilling life. It's the filmmakers who need to be spanked.
  15. The key to a good B-mystery is that all the actors should be a little stilted. You should never know the difference between an actor acting badly and an actor doing a masterful acting job of someone acting badly. In Non-Stop, there is much excellent bad acting.
  16. It also helps that they've got actresses like Gabrielle Union and Taraji P. Henson doing the heavy lifting of trying to show real emotion while still keeping things light and on the comedy track.
  17. The movie goes soft. But it has the unpretentious energy and charm of a good YA girls' novel.
  18. Efron's stopped-clock seriousness is more convincing on a melancholy loverboy than it is on a melancholy soldier. We can't quite sense the harrowing torment of lives lost before his eyes, but we can sense the sweet anguish of being around the woman you adore. It'll have to do.
  19. At its best, 22 Jump Street is less an action comedy than a loosely plotted revue, and though it’s not as witty as either Joe Dante’s "Gremlins 2: The New Batch" or Edgar Wright’s "Hot Fuzz" (in which the directors evinced genuine love for their chosen genres), it’s sure as hell better than a straight buddy-cop sequel.
  20. Hanks and those scenes in the cockpit make the movie worth seeing, in spite of the dumb melodramatics. But only just.
  21. Joy
    I don’t think Russell has ever directed a scene as phony as the one in Joy’s office where she shows her abiding beneficence to a sweet young African-American couple. Equilibrium makes Russell a dull boy.
  22. Still, it does eventually become a bit tedious, and for all the breathless kineticism of the film's second act, you may find yourself twiddling your thumbs. It's a cool game, to be sure, but watching someone else play it gets old after a while.
  23. It would be barely passable under normal circumstances, but in 3-D it's a circus of excellent FX.
  24. It's a rich idea -- a Hartley-esque variation on the theme of American Innocents Abroad. And it works superbly until -- well, Grim's the word.
  25. A lovely minor achievement. It would have been major if Breillat had been more expansive with respect to Anaïs instead of contentedly letting her go on about her lumpish ways.
  26. I think The Revenant is, on the whole, pain without gain, but it’s certainly a tour ​de force — literally, a feat of strength.
  27. Taking Sides has a padded-out, stagebound quality that is anything but lyrical. And Szabó, a Hungarian best known for "Mephisto" and "Colonel Redl," is not at his best here.
  28. It’s fast, rousing, and blessedly brief.
  29. Despite the clunkiness, Estevez's commitment to his father's generation’s idealism (and its murder) commands respect.
  30. As cheap as the whole set-up is, the actors make wonderful music together - even if there's not much left of Eastwood's vocal cords except a handful of dust.

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