New York Magazine (Vulture)'s Scores

For 1,778 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Amour
Lowest review score: 0 She Hate Me
Score distribution:
1,778 movie reviews
  1. 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.
  2. Villeneuve is trying like hell to elevate what turns out to be a dumb genre picture.
  3. The visually stunning Sin City has grit to spare and a thrilling undercurrent of morality.
  4. It's a crackerjack ride, shot and edited for maximum discombobulation.
  5. Joe
    You can be of two minds about the movie’s climax without shame. It’s galvanizing and, after all the accumulated tension, longed-for. And it’s too easy. And it’s rousingly well done. And it’s cheap. And that’s what makes the vigilante myth so vexing.
  6. Cooper's performance is outlandishly great, but Phillippe’s knocks Breach down a peg.
  7. At its most basic level, Cast Away is a graceful and powerfully rendered survivalist saga.... And yet there's something generic about Chuck's plight. The filmmakers don't opt for the usual happy-face Hollywood ending, but even the half-smile they provide smacks of inspirationalism.
  8. A first-rate zombie movie. The best tribute I can offer is that it makes you want to go out directly afterward and down some expensive single-malt scotch.
  9. Tsunashima gives a deft performance in a role that starts out as caricature but becomes full-bodied. Collette commands the screen virtually the entire time.
    • 73 Metascore
    • 70 Critic Score
    Barry Levinson’s political and media satire Wag the Dog goes as fast as the wind, and that’s a relief because the idea behind the movie is thin. Very thin -- and at times offensively glib.
  10. With all the narration and fits of slow motion, the movie seems like the work of a nervous chain-smoker. It lacks concentration--and with it, the potential for rapture.
  11. Any war picture in which the heroine stalls the villain with a quiet, painstaking tea ceremony until the wind shifts direction and the good guys can firebomb the bad guys into oblivion is too ineffably Zen not to love.
  12. The movie is wonderful, nonsensical fun.
  13. Disney's Lilo & Stitch, which is animated in the traditional way, with watercolor backgrounds, is lovely, and funny, too. It owes a great deal to Japanese anime, but there's also a "Looney Tunes" friskiness to it that's distinctively homegrown.
  14. Rust and Bone doesn't come together, but it's a triumph of non-actorish acting.
  15. Niceness also takes the edge off Patrick Creadon's otherwise revitalizing documentary.
  16. Too often, it’s the MOVIE that isn’t there. What’s meant to be archetypal comes across as superficial.
  17. The Coens have a true feeling for the sleek surfaces of the genre, but they don't connect with its sordid, sexy undercurrent; that's why Crane is made to seem so passive.
  18. What’s on display here is a great actor at his absolute peak — damn it all.
  19. Jarecki puts the veteran actor to brilliant use in the insanely gripping Arbitrage.
  20. Once the action starts - and it starts very quickly - The Raid is relentless, breathtaking in its sheer propulsive majesty. But it's also shot through with moments of bleak poetry amid the carnage.
  21. I'm not sure any other actress today could have pulled this off without seeming cheap or manipulative. The same, unfortunately, cannot be said for the movie itself, which often traffics in the manipulative.
  22. Audiences for this film should have no such qualms: When the camel lolls his jaws at dinnertime, or sways his Bactrian bulk, you may decide you've never seen anything quite so hilarious -- or magnificent.
  23. Spurlock's movie is an attack on our eating habits, but it's also a prime example of an all-American sport--making a spectacle of oneself for fun and profit. Spurlock, you'll be surprised to learn, is developing a TV spinoff, with himself as host.
  24. Le Week-End is a marital ­disintegration–reintegration drama that opens with a dose of frost and vinegar and turns believably sweet—and unbelievably marvelous, in light of what had seemed a depressing trajectory.
  25. If you’ve never seen a Johnnie To crime picture, Exiled is a simple, stylish, and utterly delightful introduction.
  26. Cold Mountain has some marvelous, intimate moments and a real feeling, at times, for the loss that war engenders, but it also has more than its share of hokum--which would be more entertaining if the hokum were juicier.
  27. [A] compelling film touching on the perils of being young - that's it, merely young - in a culture without justice.
  28. By the end of the movie, the characters are numbed, while the audience is sensitized to the mayhem to an almost unbearable degree.
  29. The movie barely seems to hold together. Could it even be called a movie? And yet, it's captivating — a bit like Gus Van Sant's "Gerry," but not as conceptually hidebound.

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