New York Magazine (Vulture)'s Scores

For 2,242 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The End of the Tour
Lowest review score: 0 Fantastic Four
Score distribution:
2242 movie reviews
  1. It’s a cracker­jack piece of filmmaking, a declaration that he’s (Eastwood) not yet ready to be classified as an Old Master, that he can out-Bigelow Kathryn Bigelow. Morally, though, he has regressed from the heights of Letters From Iwo Jima (2006). In more ways than one, the Iraq occupation is seen through the sight of a high-powered rifle. The movie is scandalously blinkered.
  2. It turns out that Charlie and the Chocolate Factory is half goofy-great, and half just a goof.
  3. The movie does a good job of capturing how ostracism and liberation are sides of the same spinning coin.
  4. The empathy never lifts off -- never becomes poetry. It doesn't help that Leigh indulges his unfortunate habit of larding the soundtrack with draggy, mournful music, heavy on the cello.
  5. Pretty much the whole movie is a series of poses, static and uninvolving, except for cinematographer Eduardo Serra’s lighting, which makes everything look convincingly Vermeer-ish. I’d like to see what he could do with Rembrandt.
  6. The bigger problem is that Singer’s weighty rhythms are disastrous for Superman, and the movie actually gets heavier in its last half-hour.
  7. Their amalgamations can be feats of genius, like their stoner-gumshoe farrago "The Big Lebowski." Or they can pretty much lie there, like much of their new, star-packed comedy, Hail, Caesar!, which is nothing but movie fodder.
  8. It would be easy to dismiss as 100 percent ersatz if it didn't rekindle at least some of the old excitement - and if the magic of Spielberg's older movies didn't filter through, like light from a distant galaxy.
  9. There is in The Mother a rich understanding of where old age takes you. Along with the myth that seniors don't have sex drives, the film dispels a larger one: that the years bring wisdom.
  10. Still, it does eventually become a bit tedious, and for all the breathless kineticism of the film's second act, you may find yourself twiddling your thumbs. It's a cool game, to be sure, but watching someone else play it gets old after a while.
  11. What saves it is Dennis Quaid.
  12. Inland Empire is way, way beyond my powers of ratiocination. It's the higher math.
  13. If The Theory of Everything cut as deeply as Redmayne's performance, it might be on the level of "My Left Foot." But there are so damn many problems, easy to ignore at first in the elation of watching Redmayne and the gossamer Felicity Jones as his future wife, Jane, but impossible to shake off in the last third.
  14. There are too many musical performances in this movie, even for a country fan such as myself, to keep the city slickers engaged. This bespeaks great faith in the charisma of the stars, who merit it. They also, however, deserved a better script.
  15. Inspires the requisite shock and awe, but a little goes a long way. About the fifth time I saw someone slip-sliding away from a 60-foot wave, I longed to hear someone on the soundtrack say, “That guy is really nuts.”
  16. Has an appealing rawness.
  17. There’s a ravishing aliveness to the spacious imagery; at least the clichés have room to roam free.
  18. Intolerable Cruelty, while tolerable, isn't very radical--or very good, either. The Coens wrote the script eight years ago on assignment, not intending to direct it, and that may explain why the result often lacks their customary bizarro facetiousness.
  19. This is not the kind of material for a stately biopic or a political drama. This is nasty, strange business — perfect for Ferrara, whose work often hovers between art and exploitation, between angst and sleaze.
  20. At its best, 22 Jump Street is less an action comedy than a loosely plotted revue, and though it’s not as witty as either Joe Dante’s "Gremlins 2: The New Batch" or Edgar Wright’s "Hot Fuzz" (in which the directors evinced genuine love for their chosen genres), it’s sure as hell better than a straight buddy-cop sequel.
  21. I'm not sure I have it in me to rant yet again about what a deprivation it is for our finest actor to deny us his genius in this way.
  22. Predictable, not so much from his (Zhang Yimou) previous movies as from the work of the many sentimentalists who have already plowed this well-tilled turf.
  23. It's a marvelous, resonant joke that never quite succeeds: Stretches of the film resemble a Dario Argento horrorfest crossed with a Mel Brooks spoof. But the director, E. Elias Merhige, and his screenwriter, Steven Katz, occasionally bring some rapture to the creepiness, and Dafoe's vampire, with his graceful, ritualistic death lunges, is a sinewy, skull-and-crossbones horror who seems to come less out of the German Expressionist tradition than from Kabuki.
  24. Begins, at two-hours-plus, is a nonstarter.
  25. I’m not sure Morris clinches his case, but I’m not sure he wants to: His aim is to throw a monkey wrench into the cogs of our perception.
  26. Ozon has a smooth gift for scenes of unease, but ultimately Swimming Pool liquifies into a dreary puzzle movie.
  27. Attains a level of quiet grace. It's too bad that I can barely remember the movie after only a week. Nothing lasts, indeed.
  28. Thirteen doesn't really offer much more insight into exasperated mother-daughter relationships or twisted teens than, say, "Freaky Friday," which I much prefer. At least that film was funny and didn't try to fob itself off as a bulletin from the front lines.
  29. It's the only Almodóvar movie in which feeling, emotional or sexual, doesn't suffuse the imagery and hold the ramshackle melodrama together.
  30. It’s just another example of art-house hokey-pokey. Amazingly, this film won both the Palme d’Or and Best Director Award at Cannes, beating out, among others, "Mystic River."

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