New York Magazine (Vulture)'s Scores

For 3,962 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Hell or High Water
Lowest review score: 0 Daddy's Home 2
Score distribution:
3962 movie reviews
  1. This is the rare “profile” documentary that is also a transcendent work of art. It raises questions we’ll be trying to answer for as long as there is art.
  2. A generous film that’s ragged at the edges but manages bursts of the sublime.
  3. The actors are in a nice place--poking fun at themselves without spilling into travesty. Fogged by self-absorption, Coogan makes you like him most when he's most dislikable; he has a fool's vulnerability.
  4. The true revelation lies in the whole, in the gathering sense that life is full of change and that nothing ever really resolves itself. That might also be why this particular anthology works so well, and also why it lingers afterwards.
  5. Sion Sono’s Prisoners of the Ghostland throws so much extreme weirdness and violence at us that we might overlook the fact that there’s method to its madness: Beneath the craziness and cacophony lies a tender, tragic tale of emotional paralysis and a civilization eating away at itself.
  6. I have zero doubts about the first half of A Star Is Born — it couldn’t be more charming.
  7. For the most part, Mu’min’s script is pleasantly inquisitive, and its refusal to arrive at easy answers is its engine. Jinn is a special little film, one that never lets its complicated, contradictory characters become abstractions, but instead revels in all the disparate elements that make them who they are.
  8. Seriousness does eventually descend on Afire like the check at the end of a meal, but until then the film, the latest feature from German filmmaker Christian Petzold, is a beguilingly funny affair about getting in your own way.
  9. A fascinating movie for kids, but it’s an improbably effective and tear-jerking one for adults as well.
  10. The Dardennes' most accessible film. Their handheld camera catches tiny flickers of emotion that few filmmakers come near; you feel as if you're watching the movements of a soul.
  11. A meticulous, thoroughly engrossing lesson in how not to win friends (or wars) and influence people (or potential terrorists).
  12. Washington manages the near-impossible feat of delivering his lines as though he’s putting the words together in the moment, speaking some of the most famous sentences in the English language as though they’re actually being dredged up out of Macbeth’s roiling consciousness.
  13. Marvelously funny.
  14. Dope isn’t perfect — it’s got a couple too many endings, and it loses the romantic subplot for a distressingly long time. But it moves with amazing energy, the dialogue and soundtrack and imagery a constant stream of pop-culture references, in-jokes, and digressions.
  15. The fact that his fumbling journey toward fatherhood is not just tolerable but genuinely touching is a testament to the disarming earnestness with which Firstman approaches the clichéd set-up.
  16. Half-amazing, half-ridiculous, thoroughly exhilarating.
  17. The mystery of the artistic process is left mysterious -- as it should be.
  18. The hotel scenes go on a tad long, but what holds us is that we’re right in the room as history is being made — with the guy, the actual guy, soon to be notorious all over the world.
  19. The Afghan boys’ kite-flying contests are the emotional core of the film, and Forster and his crew bring the camera into the sky and make it dip and soar along with the kites. It’s a thrilling spectacle, although it’s also tinged with a peculiarly emasculating aggression.
  20. It all adds up to a searing portrait of social misery.
  21. The whole movie is a trick, reversing our expectations at nearly every turn and casting actors in roles that they were not exactly born to play, but do so with relish.
  22. The film Segan has made is very much its own thing. It’s a twilight fable of a city that’s changing, whose spirit remains distinct and grand and full of mystery, much like the remarkable actor at its center.
  23. 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.
  24. Anton Chekhov's The Duel is convincingly-yes--Chekhovian.
  25. 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.
  26. It's also breathtaking to watch a throwaway studio sequel break its corporate chains before your very eyes and become something thrilling and dangerous and alive.
  27. The final film adaptation of Suzanne Collins’s dystopian Hunger Games YA novels, Mockingjay — Part 2, is a potent antiwar saga: bleak, savage, and very modern in the depiction of an unholy union between political manipulation and showbiz.
  28. By the time Bugonia is over, with a series of beautiful and haunting images that seem to come out of nowhere, we understand that beneath its bemused dispassion lies a deep longing for connection.
  29. 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.
  30. Downbeat as it is, Half Nelson is a genuinely inspirational film--a terrifically compelling character study and a tricky exploration of the links (and busted links) between the personal and the political.

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