New York Magazine (Vulture)'s Scores

For 3,960 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:
3960 movie reviews
  1. I'm not sure any other actress today could have pulled this off without seeming cheap or manipulative. The same, unfortunately, cannot be said for the movie itself, which often traffics in the manipulative.
  2. Django Unchained doesn't merely hit its marks; it blows them to bloody chunks. It's manna for mayhem mavens.
  3. Something sacred passes between Trintignant and Riva. The actress's eyes signal deep awareness as the sounds coming out of her mouth become animalistic.
  4. Save the Date works best when it's getting under your skin, and it does that when it's capturing the queasy halfway point - part sadistic, part bittersweet - of still loving somebody while trying to move on to someone new. It's a kind of subtlety that movies, especially American movies, rarely do well, but this quietly unassuming, secretly brilliant little charmer nails it.
  5. The tasteless bombardment that is Les Misérables would, under most circumstances, send audiences screaming from the theater, but the film is going to be a monster hit and award winner, and not entirely unjustly.
  6. As a moral statement, Zero Dark Thirty is borderline fascistic. As a piece of cinema, it's phenomenally gripping - an unholy masterwork.
  7. The grandeur of the Lord of the Rings trilogy [has] been replaced by something that resembles tatty summer-stock theater.
  8. Hyams's film, which may at first seem like a glorified VOD entry in a forgotten franchise starring has-been action stars, is an admirably tense sci-fi/horror adventure that somehow turns its considerable limitations into virtues.
  9. The movie's a smorgasbord of horror, and, ironically, that takes the teeth out of it. We're not really in this villain's world, because we don't know what his world is, or what he is, or what he's trying to even do. It's like a nightmare designed by someone who's heard a lot about nightmares but has never actually had one.
  10. He's [Pitt] not particularly inventive - with his appraising eyes and a toothpick in his mouth, he's like Redford without the edge - but he uses his stardom cannily, to kill with softness.
  11. Rust and Bone doesn't come together, but it's a triumph of non-actorish acting.
  12. As much as its premise may sound like the start of a bad joke, Peter Ramsey's movie preserves just enough genuine childhood wonder in its whooshing, high-tech theatrics to make it a delight.
  13. Love it or hate it, Milius's original Red Dawn looks like an Akira Kurosawa masterpiece next to this latest iteration, directed by Dan Bradley.
  14. Pi has designed his own terrarium to keep from staring directly into the abyss. It's not denial. It's faith in something else: the transformative power of storytelling. The film is transcendent.
  15. It's Lawrence who knocked me sideways. I loved her in "Winter's Bone" and "The Hunger Games" but she's very young - I didn't think she had this kind of deep-toned, layered weirdness in her.
  16. If anything, this series has gotten dumber and more inert as it has progressed, with this last one finally reaching over into an extended wallow in camp.
  17. God, I love Plummer's performance - the twiddling fingers, the tipsy sway of the head, the reverberating roar, as well as the pathos of a man who can't stop acting long enough to hear the cry of his own soul.
  18. Beyond the Mafia-like code of silence, it comes down to this: The guys at the top reserved their compassion for priests like Father Murphy in the belief that the boys were young and would get over it. No one of true faith will get over Maxima Mea Culpa.
  19. Every unhappy movie is unhappy in its own way, and Joe Wright's Anna Karenina is as boldly original a miscalculation as any you're likely to see.
  20. Lincoln is too sharply focused to deserve the pejorative "biopic" label. It's splendid enough to make me wish Spielberg would make a "prequel" to this instead of another Indiana Jones picture.
  21. It's an unusually funny, literate, worked-out script, and Mendes seems hell-bent on making the best Bond since "Goldfinger" - or the best, period, given that he exhumes Bond's old Aston Martin only to shoot it cheekily to pieces.
  22. I was happy watching these actors, happy going behind the scenes of a sober classical music ensemble instead of another druggy rock group, happy hearing Beethoven for a couple of hours. The movie is haut-bourgeois to the bone, but so am I: Let's hear some chamber music and have a little laugh and a cry!
  23. The director seems to be drawing a line from the horror of the war years to the infantilism of the Boomers and rock; the father lost his innocence, and the son froze his.
  24. Still, it does eventually become a bit tedious, and for all the breathless kineticism of the film's second act, you may find yourself twiddling your thumbs. It's a cool game, to be sure, but watching someone else play it gets old after a while.
  25. No actor is as brilliant, or as cunning, as Denzel Washington at portraying superhuman coolness and the scary prospect of its loss.
  26. It's a perfect fortune cookie of a movie, full of bland life lessons for everybody; would that there were some drama or style in it somewhere along the way.
  27. Still, it's hard not to think that there's a darker, funnier movie in there waiting to get out. In the meantime, we'll always have the humping chicken.
  28. The cast comes off like a third-rate stock company on the matinee after the night on which everyone got bombed on mescal (and possibly mescaline).
  29. What a whorish film this is: Even the serial killer lectures the detective.
  30. But the real problem behind Paranormal Activity 4 is that its entire raison d'ĂȘtre has gotten old; producer Oren Peli, who directed the first one, even included some gentle digs at the found-footage genre in his superior "Chernobyl Diaries," released earlier this year.

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