New York Magazine (Vulture)'s Scores

For 2,987 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 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Minding the Gap
Lowest review score: 0 The Mummy
Score distribution:
2987 movie reviews
  1. Living with Mason and his parents over time you feel an intimacy, an empathy, a shared stake. I’m not saying Boyhood is the greatest film I’ve ever seen, but I’m thinking there’s my life before I saw it and my life now, and it’s different; I know movies can do something that just last week I didn’t. They can make time visible.
  2. Hype would bruise Barry Jenkins’s Moonlight, which is so delicate in its touch that the usual superlatives sound unusually shrill. It’s the gentlest, most suggestive of great films.
  3. His palette here is deep-toned, with bottomless blacks and supersaturated oranges and blues--as if the Walt Disney of "Pinocchio" had collaborated with Goya.
  4. You've seen the rest; now see the best.
  5. The coup de grâce is especially graceless because everything we know is already visible in Marinca’s eyes. The actress is extraordinary.
  6. Cuarón never seeks a tidy resolution for their loving, lopsided, complicated relationship. But it’s one of the reasons why Roma leaves such a deep and lasting impression.
  7. Lonergan is the master of taking a scene that starts off as something familiar, then sending it spinning off in another direction, and then pulling back at just the right moment, as the viewer’s imagination hurtles ahead to fill in the gaps.
  8. The movie nails all this, and it’s smashingly effective as melodrama. But McQueen’s directorial voice — cold, stark, deterministic — keeps it from attaining the kind of grace that marks the voice of a true film artist.
  9. Bird clearly knows the great silent clowns: The slapstick he devises is balletic.
  10. It’s extremely moving and thrilling and it will both make and ruin your day.
  11. What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.
  12. The movie is as cornball as all get-out and — once you discern the narrative arc — as predictable. But then there’s the part that’s — as we serious cinephiles like to say — infuckingcredible.
  13. The most deeply and mysteriously satisfying animated feature to come along in ages.
  14. It's an entertainingly cynical small movie. Aaron Sorkin's dialogue tumbles out so fast it's as if the characters want their brains to keep pace with their processors; they talk like they keyboard, like Fincher directs, with no time for niceties.
  15. Raoul Peck’s driving, free-form documentary I Am Not Your Negro is not a direct response to Donald Trump’s delighted recognition of the lone nonwhite face he saw at one of his rallies: “Look at my African-American over here!” But the movie feels, if anything, even timelier, which is to say, timeless.
  16. Portrait of a Lady on Fire builds and builds and builds, as we keep waiting for an explosion, a big emotional climax. And, not unlike with another great recent import, Pedro Almodóvar’s "Pain and Glory," it arrives with the very last shot — which I won’t reveal other than to say it’s one of the finest pieces of acting and one of the most moving images I’ve seen in eons.
  17. The Hurt Locker might be the first Iraq-set film to break through to a mass audience because it doesn't lead with the paralysis of the guilt-ridden Yank. The horror is there, but under the rush.
  18. As a moral statement, Zero Dark Thirty is borderline fascistic. As a piece of cinema, it's phenomenally gripping - an unholy masterwork.
  19. What makes it so good is that no one is bad. These humans, desperate to do right, are caught up in a perfect storm of inhumanity. The evil is in the ecosystem.
  20. The new Pixar picture Wall-E is one for the ages, a masterpiece to be savored before or after the end of the world.
  21. Haynes has calibrated the film so precisely to Blanchett’s talents that he couldn’t have rendered her better with animation.
  22. Before Midnight counts on our previous investment to keep us riveted. We are. And we want them back in spirit on that train to Vienna as much as they do. What’s next — After Sunrise?
  23. What Nolan plus IMAX can do is go big. Spitfire swerving, boat tippings, men dropping to the sand as planes scream by — it doesn’t get any better. That first shot of men on a street in a shower of paper on which their deaths are foretold — brilliant. Somewhere inside the mess that is Dunkirk is a terrific linear movie.
  24. Something sacred passes between Trintignant and Riva. The actress's eyes signal deep awareness as the sounds coming out of her mouth become animalistic.
  25. The movie has momentously disturbing ideas but a fine grain, its images suitable for framing — or hiding away in the attic.
  26. Perhaps the most awesome thing in Mr. Turner is how Leigh and cinematographer Dick Pope hint at Turner’s paintings in their landscapes — not to make the film look painterly but to suggest what Turner saw before transmuting reality into art.
  27. For Scorsese, the slowing-down in The Irishman is radical, and it pays off in the long series of final scenes in which the characters are too old to move as they once did. They can’t hide inside motion, and so Scorsese doesn’t — and the upshot is one of his most satisfying films in decades.
  28. The result was one of the most acclaimed albums of her career — and one of the most elusive film projects of all time, full of twists and turns that would have made Orson Welles order a stiff drink.
  29. This teeming, tear-duct-draining, exhaustingly inventive, surreal animated comedy is going to be a new pop-culture touchstone. In all kinds of ways it’s a mind-opener.
  30. Sweetest, funniest, most humane movie I've seen all year.

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