New York Magazine (Vulture)'s Scores

For 1,822 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 WALL-E
Lowest review score: 0 The Human Centipede (First Sequence)
Score distribution:
1,822 movie reviews
  1. Lincoln is too sharply focused to deserve the pejorative "biopic" label. It's splendid enough to make me wish Spielberg would make a "prequel" to this instead of another Indiana Jones picture.
  2. It’s the closest I’ve seen a film come to an act of genuine hypnosis.
  3. The movie is a triumph of an especially satisfying kind. It arrives at a kind of gnarled grace that’s true to this sorry old man and the family he let down in so many ways.
  4. The whole thing is irresistibly preposterous.
  5. The self-satire of The Kids Are All Right is so knowing, so rich, so hilarious, so damn healthy that it blows all thoughts of degeneracy out of your head.
  6. What Now? Remind Me is all over the place, but it never feels messy or lax.
  7. Cave of Forgotten Dreams is sometimes frozen by Herzog's awe. But it's hard not to love him for always trying to look beyond the surface of things, to find a common chord in the landscape of dreams.
  8. Field made a thriller about what we are capable of in the name of hatred -- and of love.
  9. The Great Beauty is a subtly daring cinematic high-wire act — an entire film built around one character’s unrealized, unspecified yearning. And it might just be the most unforgettable film of the year.
  10. One job of memoir is to show the world through another's eyes and inspire you to live more alertly, and that is the glory of The Beaches of Agnès.
  11. Hot-dog Hong Kong action stylist Johnnie To has never achieved the cult status of John Woo in this country, but his explosively entertaining — and startlingly splattery — Drug War should win him new fans.
  12. A marvel of cunning, an irresistible blend of cool realism and Hollywood hokum.
  13. Creepily evocative.
  14. As with much of Soderbergh's avant-garde work, his garde isn't quite as avant as he would have us believe it is. Still, Soderbergh's jazzed stylistics can be smartly entertaining. Without them, an uneven movie like Traffic might seem more of a mélange than it already is.
  15. Talk to Her affects some people very deeply, while others, like me, find it high-grade kitsch.
  16. If I seem cool, it might be because I came in hoping for the same level of blood-and-thunder as in the Evangelical scenes of "There Will Be Blood," whereas The Master is a cerebral experience. But Anderson has gone about exploring fundamental tensions in the American character with more discipline than I once thought him capable.
  17. What gives Los Angeles Plays Itself its extraordinary density is the way Andersen transforms a cliché into a metaphysical truth that encompasses far more than L.A.
  18. A prime piece of whirlybird filmmaking, and the technique saps what might have been a powerful experience.
  19. The movie works smashingly, especially if you haven't seen its Hong Kong counterpart and haven't a clue what's coming. But for all its snap, crackle, and pop, it's nowhere near as galvanic emotionally.
  20. Liam Neeson has gravely splendid pipes as Ponyo’s father, a once-human wizard who lives underwater and despises humankind for polluting the planet.
  21. Ernest and Celestine is a modest, beautiful little children’s fable with a wise, grown-up heart.
  22. Osder has made a documentary that’s astonishingly in the present tense.
  23. I hope I'm not raining on Beasts of the Southern Wild's deluge to say it doesn't always live up to its pretensions. There's a lot of unshaped babble and draggy landscape shots, and the music, so lovely in small doses, is numbing when it's ladled over everything.
  24. In The Flight of the Red Balloon, the great Taiwanese filmmaker Hou Hsiao Hsien uses Albert Lamorisse’s 1956 masterpiece "The Red Balloon" as a springboard for his own masterpiece--a distinctively modern and allusive one, yet so tender and plaintive that you understand what Hou is up to on a preconscious level.
  25. A truly strange, wondrous beast. It has the playful humor and charm of a children’s movie, but its design is dark and unsettling.
  26. It’s not just vérité--it’s battlefield vérité; it triggers your fight-or-flight instincts.
  27. Polanski’s strongest and most personally felt movie.
  28. Belzberg doesn't intervene during the moments of violence, believing that the film can force social change only by showing the worst. If she is correct, then this film should move mountains.
  29. The Edge of Heaven is powerfully unsettled--it comes together by not coming together.
  30. The Savages is a delightful movie--the perfect companion piece (and antidote) to the year’s other superb convalescent-dementia picture, "Away From Her."

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