New York Magazine (Vulture)'s Scores

For 2,273 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 Waking Life
Lowest review score: 0 Fantastic Four
Score distribution:
2273 movie reviews
  1. Pacific Rim made me marvel at the technology of movies, but never the magic of them.
  2. At one point, Van Damme delivers a long, tortured soliloquy about his alienating stardom to the camera in a single take. It's the most amazing piece of acting I've ever seen by a martial artist. But the film itself doesn't rise above the level of a good try.
  3. Williams once knew how to be very still and yet allow us to see the plangent human being underneath. In One Hour Photo, Sy's scary ordinariness is a species of acting stunt. There's no there there.
  4. Avenue Montaigne would be difficult to stomach if it weren't so light and uninsistent, and if its actors weren't so charming. I still rolled my eyes--but sometimes I do that when I get a really good croissant.
  5. Stoppard and his director, Michael Apted, must be aware of how dry their film is, because periodically they work in little thriller divertimenti -- car chases and such -- that only serve to point up how un-thrilling everything is.
  6. Che
    Che is an impressive physical feat, but especially in the second part, which gives you day after day of rebels being killed and indigenous poor people not joining the good fight, you start to look forward to Che getting riddled by bullets. The whole movie is a forced march.
  7. Though often beautiful, this is an emotionally paralyzed film about emotionally paralyzed people.
  8. Even when it spreads itself too thin, Look Both Ways enlarges your perception of the here-and-now--and what movies can do to transcend it.
  9. So it's a good thing the film has that cast, and Stoll in particular. He’s the main reason to watch Glass Chin. And not coincidentally, he’s often quiet.
  10. Infinitely Polar Bear is a good example of how a film that looks on paper like a mess of indie clichés can be redeemed by fantastic performances … even if, ultimately, it remains a mess of indie clichés.
  11. The revulsion that Steven Spielberg maintained to the end of "Saving Private Ryan" is nowhere in sight — Ayer betrays his own values with a climax that’s like a hack gamer’s recreation of Peckinpah’s "The Wild Bunch." The final encounter between Ellison and a German soldier is meant to offer humanist balance, but in context it’s ludicrous. You can’t believe Ayer thought he could get away with it.
  12. Evocative as it is, The Road comes up short, not because it’s bleak but because it’s monotonous.
  13. Where to Invade Next shows Moore at his cheapest, while also affording glimpses of the filmmaker he once was.
  14. Ant-Man isn’t much more than pleasant (Peyton Reed directs limply), but anything Marvel that doesn’t feel Marvel-ish makes me smile.
  15. It's tricky, it's surprising, and it's largely faithful to the original mini-series, but in context it's a nonevent. It's like a time bomb that's never dismantled but never explodes. The movie is good enough that the ending leaves you … not angry, exactly. Unfulfilled.
  16. It's empty and formulaic, with plotting that's lazy even by stoner-comedy standards. Without all the yuck-o sight gags, it would be a huge bummer.
  17. The destination is often familiar and not always particularly interesting, but the ride itself isn’t always so bad, especially when you’ve got Bill Murray along for company.
  18. Fry's saving grace is his love of actors. The younger and less familiar performers are more than adequate, but it's the older guard that shines. Broadbent is marvelously rummy.
  19. It’s an unusually warm world, full of helpful wealthy people and friendly faces. That’s the conundrum. It’s too shallow to nourish the spirit of a man like Bobby. But it’s too rich to leave.
  20. It's a sinuous, bittersweet odyssey, and although the filmmaking lacks finesse, the actors, especially Mandvi, with his bright, sorrowful beauty, and the great Om Puri, who plays Ganesh's father-in-law with an infernal crankiness, are always worth watching.
    • 64 Metascore
    • 60 Critic Score
    Not revolutionary or even evolutionary but enormously .... methodical. Working from an Elmore Leonard novel, Tarantino has created a gangster fiction that is never larger than life and sometimes smaller.
  21. Neeson's gravity elevates the action, and there's a fine, prickly performance by an actor new to me, Frank Grillo, as the asshole of the group. But The Grey, despite moments of sublimity, is as predictable as a funeral. When Ottway angrily calls out to God, the nonanswer is sadly redundant.
  22. It gets the job done and then some, but it's ugly and clumsily shaped, and every scene is there to rack up sociological points.
  23. It’s campier than its predecessor, but its gung ho union of black, white, and Asian gangs against reactionaries who’d destroy them is a virtuosic assertion of punky Parisian multiculturalism.
  24. A glossy, depthless melodrama.
  25. Better approached as an “oooooh” and “awww” fest.
  26. Secretary is deeply conventional: Edward and Lee accept their bondage as the way to a more fulfilling life. It's the filmmakers who need to be spanked.
  27. A crime thriller that is strong on sultry atmosphere--you practically break into a sweat watching it--but weak on believability.
  28. We’re supposed to take this more seriously because it takes itself more seriously.
  29. If Cheap Thrills ultimately does carry us along, it’s due largely to Healy’s performance and presence. He’s a figure halfway between schlemiel and criminal, and the film effectively works that full range.

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