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. Rock of Ages withholds nothing and makes miracles seem cheap.
  2. The real revelation here is Plaza, whose shtick - the willowy cutie deadpanning about how lousy her life is - should be grating and tired, but it works remarkably well for some reason.
  3. You could never call Solondz a humanist, but he achieves something I've never seen elsewhere: compassionate revulsion.
  4. It's a different sort of experience: a stately, somewhat plodding but endurable science-fiction saga.
  5. It also comes as little surprise that she (Fonda) knocks the part out of the park, even if the film around her leaves something to be desired.
  6. The movie's revisionist tone is startlingly enough to carry you along.
  7. The finished product is in a different league than the whompingly terrible Men in Black II - it hits its marks. But it's not inventive enough to overcome the overarching inertia, the palpable absence of passion.
  8. 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.
  9. It left me bemused instead of moved, but true Andersonites will likely float away in a state of nirvana.
  10. Somehow both annoyingly overstuffed and depressingly thin.
  11. One of the more enjoyably terrible movies of the year.
  12. For a movie that deals with rape, criminality, and even racks up a real body count, Hick is whisper-thin and instantly forgettable.
  13. The good news is that The Dictator is a loose and silly and occasionally exhilarating political farce in the tradition of Chaplin's The Great Dictator (obviously) and the Marx Brothers' antiwar masterpiece "Duck Soup." And it comes in at a fleet 83 minutes - just right.
  14. The screenplay by Seth Grahame-Smith is witless and meandering, though the witlessness wouldn't matter so much if it moved, or the meandering if it were droll.
  15. Although the film's why-can't-we-all-get-along story line and even some of its quirk-laden pit stops feel familiar, the very texture of what we're seeing seems to change from one moment to the next, resulting in an occasionally breathtaking uncertainty.
  16. For all its calculation and manipulation, there's a very human movie somewhere within Marigold Hotel. You might just have to wade through a thousand clichés to get to it.
  17. On its own terms, Bernie is smoothly made and reasonably entertaining, Linklater doing his Austin-based best not to condescend to the locals - at least the East Carthage locals.
  18. The film would be better if it were gentler. It's broadly written and played, the actors too busy telegraphing their characters' emotions to let us contemplate their faces in peace.
  19. Koreeda's compositions have a sympathetic detachment that Americans rarely value but is, for many Japanese, the whole point of art. That means you can contemplate the wonder in these glowing young faces without feeling as if you're on an intravenous drip of corn syrup.
  20. The movie goes soft. But it has the unpretentious energy and charm of a good YA girls' novel.
  21. Kargman is light on her feet, and she has chosen to follow a fascinating group of kids preparing for the 2010 Youth America Grand Prix.
  22. A charming, funny, reactionary mating comedy.
  23. The Avengers is both campy and ­reverential. Comic-Con nerds will have multiple orgasms. I had a blast.
  24. The compact Hennie is a wonderful actor, smoothly congenial when confident, uproarious when rattled. And he will be rattled-as well as stabbed, shorn, bitten, mangled, and worse.
  25. Batmanglij keeps the movie even-keeled, full of medium close-ups, underscored by ambient plinks and shimmers, with nothing to break the trance until a last scene that upends everything we thought we knew.
  26. Efron's stopped-clock seriousness is more convincing on a melancholy loverboy than it is on a melancholy soldier. We can't quite sense the harrowing torment of lives lost before his eyes, but we can sense the sweet anguish of being around the woman you adore. It'll have to do.
  27. It also helps that they've got actresses like Gabrielle Union and Taraji P. Henson doing the heavy lifting of trying to show real emotion while still keeping things light and on the comedy track.
  28. There's nothing like a film about wayward passions to remind you how differently people feel things.
  29. If you can stay awake, you'll see a performance by ­Keaton that is radiant in its simplicity, all ditheriness shaken off. She's still ­peaking - ­someone give her a great role.
  30. The pretty good thriller Lockout peaks with its first shot...When the camera moves and the plot kicks in - as it must - the movie loses its witty economy. Things get cluttered.

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