New York Magazine (Vulture)'s Scores

For 2,043 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 Summer Hours
Lowest review score: 0 Fantastic Four
Score distribution:
2,043 movie reviews
  1. 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.
  2. 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.
  3. If you can forget what it’s saying, Divergent is fairly entertaining.
  4. 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.
  5. 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.
  6. 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.
  7. People who see Sinbad for its star power--a big selling point in the movie’s marketing campaign--are being oversold.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. Franklin directs smoothly, but except for Freeman, the theatrics are pretty pro forma.
  13. Some good gross-out inventiveness, but too heartfelt by half. Do we really need the Farrellys to champion inner beauty?
  14. 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.
  15. The film would be better if it were gentler. It's broadly written and played, the actors too busy telegraphing their characters' emotions to let us contemplate their faces in peace.
  16. That first half of Admission is a lot for an actress to overcome. It’s not just very bad, it’s very fast, as if someone had overwound the metronome. Fairly naturalistic lines are delivered at the pace of screwball zingers — which stubbornly refuse to zing.
  17. The thinness of the movie, which is what is intermittently enjoyable about it, is at odds with its sob-sister pretensions.
  18. It doesn’t always work as drama, but as a musical, it’s often fantastic.
  19. What I can't accept is that the stringy, insipidly earnest teen idol Zac Efron would grow up to be the defensively ironic, twisty-faced Matthew Perry.
  20. John Travolta finds no artistic breathing-room in A Love Song for Bobby Long.
  21. For all its triteness, Sheridan's sentimentality has its poignancy: This adolescent boy is all set up to live out a halcyon life he'll never have.
  22. No movie with this much ass-kicking should feel so lifeless. Nothing in Red 2 is actively offensive, but for the most part, it’s hard to really care for anything that’s happening to these characters.
  23. It isn't just the violence that is overplayed. There is so much creepy-Gothic Sturm und Drang in The Passion that at times it seems as if Clive Barker should get credit for the story along with Matthew, Mark, Luke, and John.
  24. This final installment jettisons most of the Zen mumbo-jumbo from the first two movies in favor of lots of very loud explosions. Since I didn’t take the mumbo-jumbo seriously to begin with, my letdown was minor, but aficionados may feel like they’ve been played for suckers.
  25. Robert Redford’s Lions for Lambs is the clunkiest, windiest, and roughest of the lot. Most of it is dead on the screen. But its earnestness is so naked that it exerts a strange pull. You have to admire a director who works so diligently to help us rise above all the bad karma.
  26. I realize Legally Blonde 2 was not intended as scathing political satire, but I wish someone out there in movieland did indeed have just such an intention these days.
  27. The time shifts are awkward, and Egoyan displays little of the deftness of characterization he evinced in such movies as "Exotica" (1994) and "The Sweet Hereafter" (1997); the result is a cold scold of a movie.
  28. If you’re going to remake Poltergeist without the whole TV angle, "Insidious" already kind of did that. To be fair, this new Poltergeist isn’t anything special, either. But it’s not a travesty, and that feels like cause for brief celebration.
  29. Hercules has no right to be as entertaining as it is.
  30. Barely rates faint praise.

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