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. The lesson of this is that there’s no easy way to dramatize the story of Julian Assange and that trying to turn it into a conventional melodrama is not just politically irresponsible but dull-witted.
  2. As usual, it's Banks, who's turning great performances in lousy movies into some kind of brilliant career strategy.
  3. With McG's migraine-inducing jerky-cam and monochromatic palette (livened only by splotches of rust), Terminator Salvation puts the numb in numskull.
  4. It's a stilted thing--overstylized and inexpressive, like high-school kids playing dress-up, or bad Kabuki.
  5. While the imagery in this retelling is impeccable, the story is strangely lifeless.
  6. Stagedoor features unremarkable rehearsal footage (exhibitionists make poor subjects for vérité documentaries) and thoughtful but unsurprising interviews with camp counselors and parents.
  7. A movie like Hart's War, for all its realistic trappings, is essentially escapism. And yet it inadvertently pushes the 9/11 button. The real world is going to intrude a lot this year at the movies. Better get used to it.
  8. You wish Rio 2 had the smarts and the inventiveness to match its scattered bursts of ambition.
  9. Watching Spike Lee’s decent but unmemorable remake of Park Chan-wook’s 2003 revenge picture "Oldboy," I kept trying to figure out why he’d done it.
  10. Actually, the whole movie is grim — drearily so.
  11. I wouldn’t believe that Run, Fat Boy, Run was co-written by Simon Pegg (of Shaun of the Dead and Hot Fuzz) if he weren’t up there on the screen in teeny briefs and with his gut stuck out, trying to endear himself to the American audience in material maybe a notch above Rob Schneider’s.
  12. The first Allen picture since "Sweet and Lowdown" that doesn't leave a bad odor in its wake.
  13. The battle scenes are loud and jangly and dissonant enough to unnerve you — they work. But I’d like to see a congressional committee grill Bay and screenwriter Chuck Hogan about what’s going on half the time.
  14. In The Judge, a legal drama that builds to the requisite Hollywood Dark Night of the Soul, Robert Downey Jr. has a role so far inside his comfort zone that the movie has no drive, no urgency.
  15. So relentlessly giddy and hyperactive that it doesn’t really need a movie review--it needs a prescription.
  16. The only reason to put yourself through Guy Ritchie's overblown, inelegant Sherlock Holmes: Game of Shadows is to see Jared Harris, who plays Professor Moriarty, in a chilling low key.
  17. I’m not sure that depicting Rove as a demonic Wizard of Oz does much more than stir righteous indignation among the already indignant. A more pertinent and challenging mission would have been to show just how the public can be gulled by Rove's dirty tricks in the same ways again and again.
  18. The trouble is, lazy, opportunistic writing can be distracting in its own way, and there’s way too much of it in Ted 2 to fully ignore.
  19. If you can forget what it’s saying, Divergent is fairly entertaining.
  20. We know where it’s going, and it doesn’t take long to get there. There are some good jokes along the way, a few of them blandly off-color.
  21. As a tribute for the awesome destructive power of the teenage libido, the house-party-gone-apocalyptic flick Project X is pretty compelling...Think "Girls Gone Wild" meets "Black Hawk Down." Unfortunately, it also appears to want to tell a story, with characters and things, and on that level it pretty much completely falls apart.
  22. In a movie with so much graphic suffering by innocent Africans, it’s a bit disconcerting that so much loving attention is paid to Bruce Willis’s anguished mug. There’s an uncomfortable Great White Father (and Mother) aspect to this movie.
  23. People who see Sinbad for its star power--a big selling point in the movie’s marketing campaign--are being oversold.
  24. The sequel, Planes: Fire and Rescue, is still a DisneyToon production, but it does aim higher, with a visual zip that was lacking from the first. It is, in almost all respects, a better movie. It’s still not particularly good, though.
  25. Few films go as obviously and bewilderingly wrong as Chloe, but for the first hour it’s a potent little melodrama in which the smooth, super-controlled storytelling contains the theme of unruly obsession like a straitjacket.
  26. The best thing about the new 300: Rise of an Empire is that Zack Snyder didn’t direct it. And the worst thing about it is that Zack Snyder didn’t direct it.
  27. The pretty good thriller Lockout peaks with its first shot...When the camera moves and the plot kicks in - as it must - the movie loses its witty economy. Things get cluttered.
  28. Franklin directs smoothly, but except for Freeman, the theatrics are pretty pro forma.
  29. Some good gross-out inventiveness, but too heartfelt by half. Do we really need the Farrellys to champion inner beauty?
  30. A shapely, stylish, white-knuckle horror-thriller that hits its marks with blood and thunder. It stinks to heaven, too, but it isn't lame. The streets of Rome haven't run this red since the Inquisition.

Top Trailers