New York Magazine (Vulture)'s Scores

For 1,656 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 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Sideways
Lowest review score: 0 She Hate Me
Score distribution:
1,656 movie reviews
  1. Harrowingly straightforward.
  2. 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.
    • 85 Metascore
    • 90 Critic Score
    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.
  3. Nichols has a genius for making landscapes and everyday objects resonate like crazy, for nailing the texture of dread.
  4. Fruitvale Station will rock your world — and, if the life of Oscar Grant means anything, compel you to work to change it.
  5. 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.
  6. One of the sharpest and funniest movies about the music business ever made.
  7. 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.
  8. 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."
  9. The film is a nearly unrelenting nightmare. Even interviews shot with the survivors after the fact have a current of dread.
  10. 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.
  11. 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.
  12. 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.
  13. In The Circle, which is banned in Iran, the enforced society of women is, in effect, a community of adults treated as children.
  14. Holy Motors is typically confounding but on every level that matters a work of unfettered - and liberating - imagination.
  15. 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.
  16. I came out giddy, feeling lighter--by about five-sixths--than I did when I went in.
  17. 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.
  18. Children of Men is a bouillabaisse of up-to-the-minute terrors. It's a wow, though.
  19. It left me bemused instead of moved, but true Andersonites will likely float away in a state of nirvana.
  20. Séraphine is one of the most evocative films about an artist I've ever seen--and in its treatment of madness one of the least condescending.
  21. Profoundly different from the others. On the cusp of their half-century mark, Apted's British subjects have accommodated themselves to what they were, what they are, and what they will be.
  22. Milk is one of the most heartfelt portraits of a politician ever made--the man himself remains just out of reach.
  23. If you've never experienced a Bollywood musical before, seeing Lagaan will be like watching "Gone With the Wind" without ever having seen a Hollywood movie.
  24. It elevates female sacrifice into an aesthetic. The movie isn't about suffering, really. It's about how you look when you suffer, how you dress up for it. Style is all.
  25. Sean Penn is so frighteningly good in this movie that he outdoes even the best of his earlier work.
  26. Hats off to Olivier Assayas's plain yet hauntingly beautiful Summer Hours, a true--albeit nonsecular--meditation on art and eternal life.
  27. Crosses the blood-brain barrier like … like … whatever the drug is, I haven't tried it, thank God. The movie eats into your mind - ­slowly.
  28. If high-toned futuristic time-travel pictures with a splash of romance float your boat the way they do mine, you'll have yourself a time.
    • 84 Metascore
    • 70 Critic Score
    This Romanian movie defies categorization--it's halfway between a black comedy and a Fred Wiseman documentary. And it haunts you like the ghost of any dead person you've ever ignored.

Top Trailers