New York Magazine (Vulture)'s Scores

For 1,838 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Boyhood
Lowest review score: 0 Arthur
Score distribution:
1,838 movie reviews
  1. I don't mean to unduly target Kill Bill Vol. 2 --it's certainly no worse than most of the blam-blam fare out there. But what I crave now are movies that speak to me in a different way about violence, that acknowledge the fact that real people are harmed.
  2. One of the letdowns of Vera Drake is that once Vera is arrested, we lose her voice.
  3. Lake of Fire centers on abortion, but Kaye understands that while dead fetuses are the hook, the agenda covers the whole life cycle.
  4. When it comes time for some of the girls to flee, the result is one of the most emotionally satisfying of all prison breaks.
  5. No filmmaker I know has gotten as close to a professional athlete as James Toback gets to Mike Tyson in his new documentary.
  6. You can't make this stuff up. You can, however, capture it on film for all time. Trouble the Water is ineradicably moving.
  7. Burton, bless him, constricts the space and concentrates the melodrama; he finds the perfect balance between the funereal and the ferocious. Above all, he treasures these ghouls: He digs both their bloodlust and their melancholy.
  8. I think this tale of woe can principally be seen as a plea for a heightened sense of community. It takes a village to keep us all afloat.
  9. Certainly for any fan of Cave’s, 20,000 Days on Earth makes for a creative, enthralling journey through the man’s world.
  10. Venus is worth seeing for the scenes between O’Toole and Vanessa Redgrave as the woman he abandoned--the mother of his children.
  11. The movie doesn't quite jell, but you'll feel its sting for hours.
  12. The Deep Blue Sea is not a showy or pronounced movie. Open yourself up to it, however, and it might destroy you.
  13. The most blessedly traditional sort of documentary. It follows the twisty, complicated rise and fall of Enron in steady, chronological order, from the mid-eighties to the present.
  14. Spacious, headlong entertainment.
  15. Ralph Fiennes gives one of the year's subtlest, yet most exciting, screen performances.
  16. That title would suit a melodrama with an emphasis on doomed love, which is not what Loach has crafted. There is a (chaste) love story and plenty of bloodletting. But what engages him and his screenwriter, Paul Laverty, is the growing tension between brother Irish rebels.
  17. If only Knightley had a co-star equal to her here: The 1995 edition of Colin Firth, come to think of it, would have been perfect.
  18. Parts of this film are as blandly lulling as a mood tape, but at best it’s a literally soaring experience.
  19. Linklater, whose previous movies include "Slacker," "Before Sunrise," and "Waking Life," may be the most versatile director of his generation. School of Rock is his most unabashedly mainstream movie by far, and yet it’s commercial in the best way.
  20. Frances Ha is an irritant when it lingers. When Baumbach’s touch is more glancing — when he cuts before the humiliation — it sings.
  21. The movie is a political remake of "The Passion of the Christ," only more aestheticized: It's rigorous, evocative, and, in spite of its grisly imagery, elegant. It's a triumph--of masochistic literal-mindedness.
  22. It’s an unshowy, quietly intense drama with grace notes in every scene — and a hellish punch.
  23. Among the most enraging (documentaries) I've ever seen, and while it's fine and heartfelt and I commend it to those of you with strong constitutions, it is the film that has finally broken me.
  24. The documentary is solid as … as … an anvil. And if you can forget Spinal Tap (hard), it's also rather touching the way these 50-year-olds still have the forged-in-fire fortitude.
  25. The most powerfully entrancing children's film in years. Of course, a true kid's classic is just as magical for adults.
  26. Clooney is as good as he has ever been.
  27. Most teen movies are cocktails of melancholy and elation. This one is best at its most un-transcendent —when it most evokes that period when we never knew what we were supposed to do with the pain.
  28. It's a genuine genre vampire picture; and it's Swedish, winter-lit, Bergmanesque.
  29. It’s the equal of "No End in Sight" in its tight focus on the nuts and bolts of incompetence, and it surpasses any recent melodrama in the empathy it evokes for both its victims and--surprisingly--victimizers.
  30. Chill to the core, Haneke presents human cruelty not to make us empathize with the victims or understand the oppressors but to rub our noses in the crimes of our species. He thinks he’s held on to the subversive ideals of punk, but all I smell is skunk.

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