New York Magazine (Vulture)'s Scores

For 2,369 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Hell or High Water
Lowest review score: 0 Fantastic Four
Score distribution:
2369 movie reviews
  1. Anderson says that as a child she dreamed of making something that had never been made before, and, with the help of some gifted artists and editors and camera-people, she has done it again — with bells on. The only thing that would make it more pleasurable would be Anderson narrating it in person.
  2. Like much of Romanian cinema, Aferim!’s narrative and stylistic gambit doesn’t quite click until the final scenes.
  3. 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.
  4. Sean Penn is so frighteningly good in this movie that he outdoes even the best of his earlier work.
  5. 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.
  6. 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.
  7. Graduation, like Mungiu’s lauded "4 Months, 3 Weeks and 2 Days," layers misfortunes and mistakes on top of one another in a way that feels both oppressive and true.
  8. The script, instead of being what we tolerate in order to savor the visuals, is a delight all by itself.
  9. Against a radiant backdrop of decay and rebirth, nothing needs to be said; everything in this lovely film is crystalline.
  10. Before it loses its fizz--maybe two thirds of the way through--Volver offers the headiest pleasures imaginable.
  11. The Square is inner-world-shaking.
  12. To see an unfettered nightmare like this from such an idiosyncratic director feels like a cruel treat, and a welcome stylistic stretch.
  13. Even at its most self-conscious, there’s something lovable about A Ghost Story.
  14. Payne is too acerbic - maybe too much of an asshole - to settle for easy humanism. But he's too smart a dramatist to settle for easy derision. Mockery and empathy seesaw, the balance precarious - and thrillingly so. It's the noblest kind of satire: cruel and yet, in the end, lacking the killing blow.
  15. His (Sidney Lumet) touch in Before the Devil is so sure, so perfectly weighted, that it’s hard to imagine him capable of making a bad movie. The thing is just enthralling.
  16. Now, at last, comes a fun dystopian sci-fi epic — a splattery shambles with a fat dose of social satire and barely a lick of sense. It’s Bong Joon-ho’s Snowpiercer, which must be seen to be disbelieved.
  17. Leigh has been giving actors their tongues for decades, and of all his films, Happy-Go-Lucky is the easiest, the least labored.
  18. Get Out is a ludicrous paranoid fantasy, but that doesn’t mean it’s not alive in the unconscious. Having it out there in so delightful a form helps us laugh at it together — and maybe later, when we’ve thought it over, shudder.
  19. The Pinochet Case is a searing album of remembrance from those who, having survived, suffered most.
  20. Beautifully directed by Phillip Noyce, the film -- is a full experience, a love story and a murder mystery that expands into a meditation on the deep deceptions of innocence.
  21. Weiner is a tabula rasa documentary — one of the most provocative of its kind I’ve seen.
  22. Despite its downbeat context (a plague at its height), the movie is a crowd-­pleaser — graceful and funny enough to distract you from its gaps and elisions.
  23. In the end, the movie is more than the sum of its fragments. The montages are intense, the images ravishing. The movie is tactile. When you finally feel this place, you understand just how little you understand.
  24. The end of The Cove is as rousing as anything from Hollywood. Manipulative? Sure--but isn't that fitting? Capitalism has driven an entire village to massacre dolphins and keep its work hidden.
  25. That's a knock on ­Bujalski -- that his characters exist in a vacuum, with few references to popular culture or politics or much of anything, really. Of course, one artist's vacuum is another's poetic distillation, and there's something about Mutual Appreciation (which is shot in an unassuming black and white) that spoke more directly to my inner slacker than any film since, well, "Funny Ha Ha."
  26. This amazing, maddening film presents a series of extended, mostly static, terrifying tableaux of despair, poverty, and decay.
  27. Moodysson captures exactly the preening narcissism and gumption of these frazzled would-be revolutionaries trying to wriggle out of their bourgeois straitjackets.
  28. Has a mixture of bloodletting and exultation that would make Sam Peckinpah sit up in his grave and howl with pleasure.
  29. If you’ve seen Linklater’s other films, you know that time for him isn’t just a factor, it’s a character, a player.
  30. Spellbindingly original -- Like the wild orchid, Adaptation is a marvel of adaptation, entwined with its hothouse environment and yet stunningly unique.

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