New York Magazine (Vulture)'s Scores

For 1,854 reviews, this publication has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Bloody Sunday
Lowest review score: 0 Funny Games (2008)
Score distribution:
1,854 movie reviews
  1. Lynn Shelton's marvelous chamber comedy Humpday butts up against the same sort of taboos as "Brüno," and in its fumbling, semi-improvised way, it’s equally hilarious and even more subversive.
  2. He’s (Singer) reborn — deft, elegant, spring-heeled — in X-Men: Days of Future Past. The special effects don’t bog him down: They lift the movie to a surreal and more emotional dimension.
  3. Operates as stealth art: stately, moving, beautifully acted, and urgently subversive to our own status quo.
  4. Arkin has a great and gentle feeling for small-time malcontents, and he knows how to make their woes our own. He does justice to the human comedy -- and redeems the movie.
  5. The fullness of Duck Season is in direct proportion to its smallness; its modesty makes it bloom.
  6. Inception manages to be clunky and confusing on four separate levels of reality.
  7. A sci-fi saga that manages to be at once stirring and screwball, gut-busting and gut-wrenching, and more fun than you had at any bigger-budget movie this past summer.
  8. The film is phenomenally well directed by Kevin Macdonald and edited by Justine Wright to bring out every bit of scary volatility in the most casual interactions.
  9. As both men lie to loved ones to keep their exchange alive, the tension builds and becomes unbearable.
  10. The first full-scale documentary about the history of those years, and it lays out lucidly the involvement of the Communist Party in the young men's defense and the ways in which the trials, against the backdrop of the Depression, replayed the murderous quarrels of the Civil War all over again.
  11. The movie, in a very real sense, is about the privilege, the sexiness, of being a movie star. Certainly it isn't about the heist; never was.
  12. Red Lights is the most ambiguously compelling romance around.
  13. Bully is repetitive and not especially artful, but children who allow themselves to see the world through the eyes of the film's victims will never be the same.
    • 74 Metascore
    • 70 Critic Score
    Gorgeously shot and utterly respectful of the story of the fourteenth Dalai Lama, but it’s dramatically inert.
  14. The greatness of Golden Door is its tone; sympathetic but always wry.
  15. Frozen is one of the few recent films to capture that classic Disney spirit.
  16. In The Town, he (Renner) doesn't signal that Jem is a sociopath... It's a deeply unnerving performance, beyond good or evil.
  17. As Ain’t Them Bodies Saints moves along, its elliptical approach to drama goes from keeping us on our toes to dulling everything down.
  18. In outline, In Darkness is a standard conversion melodrama, but little within those parameters is easy. The darkness lingers into the light.
  19. A mesmerizing documentary.
  20. Has some rapturously observant sequences concerning childhood.
  21. In his florid sci-fi opera Interstellar, Christopher Nolan aims for the stars, and the upshot is an infinite hoot — its dumbness o’erleaps dimensional space. It’s hugely entertaining, though.
  22. It could easily have veered into opportunistic melodrama. But the director’s focused restraint and Suliman’s wonderfully understated performance keep us grounded.
  23. The movie is brilliant and infectious, much like Bennett's voice: English-deadpan but never snide, and generous to a fault.
  24. The movie is clipped, blunt, and grimly realistic. It is practically a POLICIER , although the suspense is mitigated by our knowledge that the investigation will end badly.
  25. I was utterly gripped by The Italian. The only problem is that I was rooting for the bad guys.
  26. Rivette has aged into one of cinema’s most ingenious minimalists. In The Duchess of Langeais he uses intertitles--bits of literary exposition--with cheeky understatement.
  27. Therein lies part of the dissonance with this often-wonderful, deceptively strange movie. You could get emotional whiplash watching it.
  28. Although Paltrow is radiant (and she nails the character’s ditzy sense of entitlement), it's Phoenix's movie. He is, once again, stupendous, and stupendous in a way he has never been before.
  29. Villeneuve is trying like hell to elevate what turns out to be a dumb genre picture.

Top Trailers