For 3,957 reviews, this publication has graded:
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47% higher than the average critic
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2% same as the average critic
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51% lower than the average critic
On average, this publication grades 0.6 points lower than other critics.
(0-100 point scale)
Average Movie review score: 64
| Highest review score: | Hell or High Water | |
|---|---|---|
| Lowest review score: | Daddy's Home 2 |
Score distribution:
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Positive: 2,217 out of 3957
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Mixed: 1,377 out of 3957
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Negative: 363 out of 3957
3957
movie
reviews
- By Date
- By Critic Score
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- Critic Score
Under Coppola's direction it succeeds on a variety of levels; as sheer thriller, as psychological study, as social analysis, and as political comment. [08 Apr 1974, p.78]- New York Magazine (Vulture)
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- Critic Score
It is, perhaps, the most demanding of his recent films--but as always, the demands are justified and rewarding. [11 Feb 1974, p.74]- New York Magazine (Vulture)
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- Critic Score
Pittman's director, producer, and star have their hearts in movies, but they've made a TV film to be long remembered. [28 Jan 1974, p.58]- New York Magazine (Vulture)
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- Critic Score
Don't let the pre-title violence throw you; The Laughing Policeman stands as a solid, rewarding detective story. [24 Dec 1973, p.69]- New York Magazine (Vulture)
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- Critic Score
In his fourth movie, Allen comes into his own as a filmmaker, providing us with the comedy of the year.- New York Magazine (Vulture)
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- Critic Score
It's a "road" story in the best disciplined sense. Quaid is nothing short of remarkable as the boy who blunders into relationships and finally comes to intimations of himself as individual and as person.- New York Magazine (Vulture)
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- Critic Score
Pacino's performance is bolstered by a screenplay and direction that respects the city-dweller's intelligence, that tells of an eleven-year experience with sophistication and temperance and resists endless opportunities for a wallow. [10 Dec 1973, p.93]- New York Magazine (Vulture)
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- Critic Score
If you can have another movie myth shattered in high style, with love as well as wit, The Long Goodbye is for you. [29 Oct 1973, p.80]- New York Magazine (Vulture)
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- Critic Score
Walking Tall grabs you where trash and violence invariably do, with excellent performers, shrewd plotting and pacing. [18 Feb 1974, p.74]- New York Magazine (Vulture)
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- Critic Score
It doesn’t quite work, but Lee’s fight choreography is so riveting it doesn’t matter.- New York Magazine (Vulture)
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- Critic Score
The film’s appeal rests almost entirely on his fight scene with his student, Chuck Norris — arguably the best one ever captured on celluloid.- New York Magazine (Vulture)
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- Critic Score
There is a consistency of character, time and place that properly compliments the plotting and is admirable enough to almost - but not quite - make us forgive the loose ends and missing links. [29 May 1972, p.71]- New York Magazine (Vulture)
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- Critic Score
As Catch-22 limps along from vignette to vignette, one sees that what it lacks is cohesion, style and essential mood. [29 June 1970, p.54]- New York Magazine (Vulture)
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Reviewed by
David Edelstein
The story of the "accidental" death of a peacenik politician (Yves Montand) and the investigator (Jean-Louis Trintignant) who unravels a right-wing conspiracy remains as fresh as a head wound.- New York Magazine (Vulture)
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Reviewed by
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- Critic Score
There is all too little here to interest an adult, let alone any veteran of the nutty-girl vs. stodgy-boy chiche. [27 Oct 1969, p.68]- New York Magazine (Vulture)
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- Critic Score
There's a wild enthusiasm to the heroine's activities and a deadpan stupidity to the dialogue that provide a redeeming entertainment value for non-up-tight adults. [26 May 1969, p.55]- New York Magazine (Vulture)
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- Critic Score
Witness as the African-American protagonist (who has kept the panicked survivors alive) meets a fate that has more to do with prejudice than carnivorous appetites. Sometimes reality can be as brutal as any nightmare alternative in celluloid.- New York Magazine (Vulture)
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Reviewed by
Bilge Ebiri
Every decade or so, Godard’s film is revered all over again for everything it got right about the future. But for all its influence, Alphaville still looks and feels like no other movie. More than a prophecy, it is poetry.- New York Magazine (Vulture)
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- Critic Score
It’s no lost masterpiece but it is funny and showcases a side of Brando we didn’t get to see often: slapstick funnyman.- New York Magazine (Vulture)
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Reviewed by
Angelica Jade Bastien
The Naked Kiss is a gut punch with the rhythm of a dream.- New York Magazine (Vulture)
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Reviewed by
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Reviewed by
Ken Tucker
Paths of Glory is all about that greatest of all movie subjects: power.- New York Magazine (Vulture)
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Reviewed by
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- Critic Score
Mitchum’s tough-guy demeanor serves him well here, giving an odd energy to the love story.- New York Magazine (Vulture)
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- Critic Score
It Happened on Fifth Avenue earns its warmth honestly, tethering a tale of fresh starts and changed hearts to the real difficulties faced by those reaching for the American dream in a postwar era that was supposed to bring prosperity for all.- New York Magazine (Vulture)
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- Critic Score
Watching Woman of the Year today, it’s hard not to see it as a the model for almost every romantic comedy.- New York Magazine (Vulture)
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Reviewed by
David Edelstein
Most of the dialogue and effects are clunky, repetitive, second-rate. A minute or so of David Lynch’s latest Twin Peaks series has more irrational menace. For all its feverish activity, Mother! feels static.- New York Magazine (Vulture)
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Reviewed by
