New York Magazine (Vulture)'s Scores

For 1,798 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 War of the Worlds
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,798 movie reviews
  1. Living with Mason and his parents over time you feel an intimacy, an empathy, a shared stake. I’m not saying Boyhood is the greatest film I’ve ever seen, but I’m thinking there’s my life before I saw it and my life now, and it’s different; I know movies can do something that just last week I didn’t. They can make time visible.
  2. His palette here is deep-toned, with bottomless blacks and supersaturated oranges and blues--as if the Walt Disney of "Pinocchio" had collaborated with Goya.
  3. You've seen the rest; now see the best.
  4. The coup de grâce is especially graceless because everything we know is already visible in Marinca’s eyes. The actress is extraordinary.
  5. The movie nails all this, and it’s smashingly effective as melodrama. But McQueen’s directorial voice — cold, stark, deterministic — keeps it from attaining the kind of grace that marks the voice of a true film artist.
  6. Bird clearly knows the great silent clowns: The slapstick he devises is balletic.
  7. The movie is as cornball as all get-out and — once you discern the narrative arc — as predictable. But then there’s the part that’s — as we serious cinephiles like to say — infuckingcredible.
  8. 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.
  9. As a moral statement, Zero Dark Thirty is borderline fascistic. As a piece of cinema, it's phenomenally gripping - an unholy masterwork.
  10. What makes it so good is that no one is bad. These humans, desperate to do right, are caught up in a perfect storm of inhumanity. The evil is in the ecosystem.
  11. Before Midnight counts on our previous investment to keep us riveted. We are. And we want them back in spirit on that train to Vienna as much as they do. What’s next — After Sunrise?
  12. The most deeply and mysteriously satisfying animated feature to come along in ages.
  13. The Hurt Locker might be the first Iraq-set film to break through to a mass audience because it doesn't lead with the paralysis of the guilt-ridden Yank. The horror is there, but under the rush.
  14. The new Pixar picture Wall-E is one for the ages, a masterpiece to be savored before or after the end of the world.
  15. What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.
  16. Sweetest, funniest, most humane movie I've seen all year.
  17. Jackson is rare among the makers of epic movies in that he knows how to do the small stuff, too. The Return of the King has “heart”--how else could it pump out all that blood?
  18. Shot by shot, scene by scene, it's a fluid and enthralling piece of work. I wasn't bored for a millisecond.
  19. Something sacred passes between Trintignant and Riva. The actress's eyes signal deep awareness as the sounds coming out of her mouth become animalistic.
  20. Joel and Ethan Coen’s Inside Llewyn Davis is an exquisitely crafted tale of woe with heartfelt early-sixties folk music — and an overarching snottiness.
  21. The film is a masterpiece in which “locked-in” syndrome becomes the human condition.
  22. Cantet's real-time classroom scenes are revelations: They make you understand that teaching is moment to moment, an endless series of negotiations that hang on intangibles—on imagination and empathy and the struggle to stay centered. This is a remarkable movie.
  23. Anderson’s fearless, bighearted filmmaking is an antidote to the toxic cloud of Manifest Destiny. He has made a mad American classic.
  24. Smashing for much of the way; as a piece of fantasy moviemaking, franchise-style, it beats the bejesus out of "Harry Potter."
  25. For grown-ups, the film will touch something deeper: the heartfelt wish that childhood memories will never fade.
  26. At times it's plodding and inchoate, but there's certainly nothing else like it in the movies right now, and it has at least one great sequence.
  27. The most joyously cinematic movie I've seen this year. Chomet's astonishing imagination conjures images you could swear you've seen in your dreams.
  28. At its best, the film compares favorably to its obvious antecedents, "Rififi" (which Melville once hoped to direct) and "The Asphalt Jungle."
  29. The Queen is the most reverent irreverent comedy imaginable. Or maybe it's the most irreverent reverent comedy. Either way, it's a small masterpiece.
  30. So Polley has gone meta — exuberantly, entertainingly, with all her heart.

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