New York Magazine (Vulture)'s Scores

For 1,823 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:
1,823 movie reviews
  1. This is Kent’s first feature — an astonishing debut. Not perfect, though.
  2. Narrated by Rhys Ifans with the dryness of a dessicated toad, Exit Through the Gift Shop is both an exhilarating testament to serendipity and an appalling testament to art-world inanity.
  3. In the Mood for Love has novelty value, I suppose, and plenty of pretty camera moves, but it's not really a movie you can warm to.
  4. As the political rhetoric between Washington and Tehran becomes dangerously overheated, Offside offers an intimate antidote: an affectionate glimpse into the cultural schisms that young Tehranis face every day. Western audiences will cheer the rebellious girls on.
  5. Knocked Up feels very NOW. The banter is bruisingly funny, the characters BRILLIANTLY childish, the portrait of our culture's narrowing gap between children and their elders hysterical--in all senses.
  6. Kim exalts nature--life’s passage--without stooping to sentimentality. He sees the tooth and claw, and he sees the transcendence. Whether this is a Buddhist attribute, I cannot say, but the impression this movie leaves is profound: Here is an artist who sees things whole.
  7. For all its original touches, though, An Education follows a conventional trajectory.
  8. I've heard it said that Le Carré's work lost its savor with the end of the Cold War, which is as dumb as discounting "Coriolanus" because Romans and ­Volscians are no longer killing each other. Le Carré's subject was the national character and what happened to it under threat and in the absence of public scrutiny. It could hardly be, mutatis mutandis, more contemporary.
  9. Downbeat as it is, Half Nelson is a genuinely inspirational film--a terrifically compelling character study and a tricky exploration of the links (and busted links) between the personal and the political.
  10. The movie, a near-masterpiece, is a monument to intoxication: of sexual conquest, of military conquest, and, most of all, of cinema.
  11. Wiseman lets the material breathe in a manner unique to the subject.
  12. Harrowingly straightforward.
  13. It’s the difference between artistry and knowingness. About Schmidt doesn’t bring us deeply into the lives of its people because it’s too busy trying to feel superior to them.
  14. Demme is in such perfect sync with Young's music that even the painted prairie backdrop (and the painted farmhouse interior screen, complete with hearth, that slides in front of it) only makes you roll your eyes in retrospect.
  15. Nichols has a genius for making landscapes and everyday objects resonate like crazy, for nailing the texture of dread.
  16. It’s absorbing for a long while, at least half its two-hour running time — an evocatively photographed soap opera with actors who are impossibly gorgeous and yet human-looking — but it goes on and on, piling on twists, adding devices so clunky they’d have embarrassed most nineteenth-century problem-dramatists, refusing to jell despite the actors’ prodigious suffering.
  17. One of the sharpest and funniest movies about the music business ever made.
  18. Atonement works reasonably well as a tragic romance, but that sting is dulled. As a book, it was a blow to the head; as a movie, it’s an adaptation of a book.
  19. The Host packs a lot into its two tumultuous hours: lyrically disgusting special effects, hair-raising chases, outlandish political satire, and best of all, a dysfunctional-family psychodrama--an odyssey that's like a grisly reworking of "Little Miss Sunshine."
  20. The film is a nearly unrelenting nightmare. Even interviews shot with the survivors after the fact have a current of dread.
  21. After warming up with "The Thin Red Line" and "The New World," Malick has succeeded in fully creating his own film syntax, his own temporal reality, and lo, it is … kind of goofy. But riveting.
  22. The cutting is hyperkinetic, yet Lee is always in synch with the cast’s phenomenal energy. He’s in their thrall--and so are we.
  23. For all its indirection, Meek's Cutoff is an utterly conventional film. But it's worth asking whether Reichardt's drowsy rhythms, stripped-down scenario, and female vantage add up to something illuminating. And here's where she earns at least some of those plaudits she's been getting.
  24. Fruitvale Station will rock your world — and, if the life of Oscar Grant means anything, compel you to work to change it.
  25. In The Circle, which is banned in Iran, the enforced society of women is, in effect, a community of adults treated as children.
  26. Like Pynchon’s novel, it’s a little insular, too cool for school. It’s drugged camp. Some of the plot points get lost in that ether — it’s actually less coherent than Pynchon, no small feat. It’s not shallow, though.
  27. Holy Motors is typically confounding but on every level that matters a work of unfettered - and liberating - imagination.
  28. Is A Christmas Tale a masterpiece? Maybe. I have to play with it longer. It's certainly Desplechin's most accessible film, in part because its dysfunctional-family-holiday-reunion genre is so comfy and its palette so warm.
  29. I came out giddy, feeling lighter--by about five-sixths--than I did when I went in.
  30. My Winnipeg is overloaded and digressive--it comes with the territory--but it's also grounded in a place, Maddin's Manitoban hometown, and it's painfully engrossing.

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