New York Magazine (Vulture)'s Scores

Select another publication »
For 3,957 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 0.6 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:
  1. Positive: 2,217 out of 3957
  2. Mixed: 1,377 out of 3957
  3. Negative: 363 out of 3957
3957 movie reviews
view
per page
    • 90 Metascore
    • 30 Critic Score
    Star Wars: Episode IV - A New Hope
    Strip Star Wars of its often striking images and its highfalutin scientific jargon, and you get a story, characters, and dialogue of overwhelming banality, without even a “future” cast to them: Human beings, anthropoids, or robots, you could probably find them all, more or less like that, in downtown Los Angeles today. Certainly the mentality and values of the movie can be duplicated in third-rate non-science of any place or period.
  2. Poor Things
    Poor Things is ultimately ugly — spiritually and narratively, which curdles even its aesthetic splendor.
  3. The White Ribbon
    Chill to the core, Haneke presents human cruelty not to make us empathize with the victims or understand the oppressors but to rub our noses in the crimes of our species. He thinks he’s held on to the subversive ideals of punk, but all I smell is skunk.
  4. Blindspotting
    It’s not that Blindspotting doesn’t have important points to make about how individuals live in a collective history of racialized violence. It’s that it has a hard time making those points feel organic to the story and style, whether it’s going for realism or over-the-top musical-theater territory.
  5. Candyman
    In trying to reckon with the contradictions of the ’92 film, as well as carve out their own work, DaCosta and her collaborators have created a misfire that can’t make its tangle of politics — about gentrification, the Black body (horror), racism, white desire — feel either relevant or provocative. When Blackness is whittled down, this is the kind of poor cultural product we are sold.
  6. Young Adult
    The movie spreads bad vibes like a virus.
  7. Macbeth
    I can’t decide if Kurzel’s Macbeth is worse than the geriatric Maurice Evans–Judith Anderson version I was forced to endure in high school, but it’s certainly less lively than the two terrible gangster updates, Joe Macbeth and Men of Respect.
  8. Prisoners
    Villeneuve is trying like hell to elevate what turns out to be a dumb genre picture.
  9. Gunner Palace
    Gunner Palace too often makes the grunts look like mean slackers -- precisely the opposite, one presumes, of what was intended.
  10. 21 Grams
    It’s forceful, to be sure, but in a lurid way that suggests a telenovela that’s been baking in the sun too long.
  11. Materialists
    While the press tour for the film has highlighted the rapport between its attractive and game stars, that doesn’t reflect the chemistry between them onscreen. There isn’t a flicker of heat between any of them. But the bigger issue is that each character is more of a threadbare idea improperly stitched together than a person.
    • 69 Metascore
    • 30 Critic Score
    There's Something About Mary
    The general insensitivity of the atmosphere gets one down after a while. None of these people go together: Friends don't seem like friends, lovers don't seem like lovers. In brief, it's not enough just to have bad taste. You have to have talent, too.
  13. Cha Cha Real Smooth
    What’s ultimately so disappointing about Cha Cha Real Smooth is its shallow vision of growing up, which might explain why the protagonist does so little of it.
  14. The Hateful Eight
    You wonder what he has up his sleeve in The Hateful Eight, but gorgeous as that sleeve might be, what’s up it is crap. The movie is a lot of gore over a lot of nothing. I hope that won’t be Tarantino’s epitaph.
  15. Blink Twice
    Unfortunately, Kravitz has neither the vision nor the range to deftly skewer the heinous foibles of wealthy men, let alone disrupt Tatum’s onscreen reputation.
  16. Holy Spider
    It’s not the first film to try to disguise its titillation at violence, in particular against women, with blunt, larger themes. But when those themes are about the structures that enable that violence, the whole enterprise just feels repellent.
    • 66 Metascore
    • 30 Critic Score
    A Soldier's Daughter Never Cries
    This is a wan, shapeless, and amazingly conventional piece of work .
  18. Elf
    I was looking forward to something a tad more satirical than this Hallmark card of a movie, which plugs innocence and goodness like they’re going out of style.
  19. You're Next
    Maybe, in another time and place, and with different actors and a better director, it might have worked. But this thing collapses right from the get-go.
  20. Saving Mr. Banks
    A fair number of people have responded with tears and laughs to Saving Mr. Banks, but I found it interminable.
  21. Entertainment
    Entertainment wears its contempt too arrogantly, fulsome in its emptiness.
  22. Guest of Cindy Sherman
    The documentary has its roots in a monologue in which the "guest of Cindy Sherman" (what H-O's place-card read at a gala) stood up for his personhood and made himself the center of the story—only there's NO STORY, not even insight into what made this unlikely couple click. Remove the boldface names and there's no movie; that center does not hold.
  23. Pitch Perfect 2
    I’m also guessing Kendrick did not want to come back. I’ve never seen her so flat-out bad — distracted, depressed, conviction-less. Anna, I still adore you, but you should have tried to make it work.
  24. Changeling
    It would be a horrific story even if underplayed, but Eastwood shoots it like a horror movie.
  25. Triangle of Sadness
    Östlund’s slog of a film is exceptional in the distance it creates between the viewer and its characters and in how comfortable its attempts at causticity actually feel. It comes complete with an ending that should be bitterly dark and instead just comes across as a moue of indifference.
  26. Split
    My loathing of Split goes beyond its derivative ideas and second-hand parts.
  27. The Rental
    Everything dissipates in such a spectacularly unsatisfying fashion that you might wonder if you dreamed the whole thing.
  28. Oculus
    One reason Oculus feels so talky and monotonous in spite of its tricky syntax is that the space itself isn’t charged with malignancy. And the monster doesn’t compensate — it’s dumb, blockish, inert. The mirror doesn’t have two faces. It barely has one.
  29. Respect
    The preceding two-plus hours of this 145-minute slog — Tommy’s threadbare hodgepodge of bad impressions, gratuitous filmmaking, and even worse depictions of mental health — isn’t even a shadow of the real natural woman.
  30. Bad Hair
    Bad Hair surprised me, ranking as the most stunning floundering of filmmaking in 2020 — a failure of empathy, intellect, and morality that I haven’t been able to shake.
prev
Page:

Top Trailers

See all »
See all trailers »