New York Magazine (Vulture)'s Scores

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For 3,961 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:
  1. Positive: 2,220 out of 3961
  2. Mixed: 1,378 out of 3961
  3. Negative: 363 out of 3961
3961 movie reviews
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  1. The Human Centipede (First Sequence)
    The movie stinks to heaven.
  2. Regretting You
    There’s a perfectly good melodrama to be made from the plot of Regretting You, which on its surface isn’t so much a twisty-turny soap opera as it is a multicharacter wallow in uncontrolled emotions. It’s how this specific movie presents all the wallowing that made me feel like I was hallucinating.
  3. After Earth
    Were Shyamalan and Smith deliberately invoking the terror — now omnipresent in urban African-American communities — of lethal asthma attacks in children? I’m not sure how I feel about something so real and so wrenching in the context of a Grade D (unfit for human habitation) sci-fi picture like After Earth.
  4. The Mortal Instruments: City of Bones
    City of Bones isn’t the worst of its kind, but crap served with flair is still basically crap.
  5. The 5th Wave
    For all the goodwill generated by its early scenes, by the time The 5th Wave lumbers to its conclusion, you realize you’re not watching a movie but an act of crisis management.
  6. The Longest Ride
    The Longest Ride is actually one of the more competent Sparks films in some years — a far cry from the creaky noir of "Safe Haven," the awkwardly backloaded melodrama of "The Best of Me," or the phony brooding of "The Lucky One." It goes down smoothly, if blandly, like an air-flavored milkshake.
  7. Like a Boss
    It’s hard to guess whether the story was mangled by studio reedits or just didn’t have much to say to begin with — both seem possible. The bigger question is why so many strong actors signed on for this misfire.
  8. Regression
    Perhaps a story like this needed to be a drama. Or maybe, with its constant, almost comical shifting of blame, a dark satire. Instead, it’s wound up as the worst of all possible alternatives: a disposable genre movie that cannot scare, convince, or enlighten.
  9. Transformers: Age Of Extinction
    Nearly three %$^&%!!# hours, and they’re brain-freezing.
  10. Ride Along 2
    Ride Along 2, which picks up not long after the first film ended, doesn’t mess much with the formula, except that everything feels more frayed and tired this time around.
  11. Down to Earth
    If Rock ever comes to his senses, he can host Saturday Night Live and skewer this damp, gag-riddled civics lesson of a movie.
  12. Paranoia
    Now it feels almost quaint, like a throwback. You watch it and, despite all the au courant techno geekery on display, you feel like you’ve stepped into a time capsule. It’s a nice feeling at first. If only the movie were better.
  13. Scouts Guide to the Zombie Apocalypse
    The gags are mostly puerile and uninspired — like the film was dreamed up by a bunch of tired, wired 13-year-olds; it has their insistence but little of their invention.
  14. Independence Day: Resurgence
    This hodgepodge has been thrown together in so slovenly a way that it’s no surprise the studio didn’t show it to the press.
  15. Masked and Anonymous
    Here’s a good rule of thumb: Any movie featuring a quote in its ad from the poet laureate of Great Britain—“Deeply engaging!” -- is in trouble.
  16. Cats
    There is something magical about the simple fact that this movie exists, in all its obscene, absurd wonder, its terrible filmmaking choices and bursts of jaw-dropping talent. It doesn’t need to be timely to be an artifact of its time — a movie about nothing but song and dance and, most important of all, about cats.
  17. Sinister 2
    Sinister 2 is far from perfect, but it has a nobility that’s rare in much modern horror cinema.
  18. Swordfish
    Another in a long line of middling movies for Travolta, who must have been so stunned to regain his stardom with "Pulp Fiction" that he hasn't stopped working since.
  19. Firestarter
    Perhaps what’s most dispiriting about this Firestarter is how visually impoverished it is.
  20. Robin Hood
    A thoroughly incoherent movie salad.
  21. Alex & Emma
    Life imitates art, except there’s precious little of either here.
  22. Tom & Jerry
    Tom and Jerry is so busy, so desperately unfunny, so clunkily cacophonous that it makes you long for the simple, brain-numbing charms of the one thing it pretty much refuses to give you: a Tom and Jerry cartoon.
  23. The Transporter Refueled
    Stupid, stupid, stupid — and it certainly knows it. You might even chuckle contentedly at its knowing silliness — that’s sort of what this low-rent franchise is here for — but you’ll also miss Jason Statham, whose deadpan self-awareness somehow legitimized the ridiculousness of the previous films.
  24. Wish Upon
    A deeply silly midsummer lark that makes up for the fact that it’s about nothing by being incredibly entertaining.
  25. Saint John of Las Vegas
    The film turns into one of those indie parades of eccentrics that are hit-and-miss but mostly miss.
  26. Showtime
    Eddie Murphy and Robert De Niro have made any number of lame movies on their own, but there's a special wastefulness connected to their first co-starring vehicle, Showtime: It's lameness times two, and then some.
  27. Charlie Countryman
    However you cut it, with all that talent, Charlie Countryman feels like a sad, wasted opportunity.
  28. Tyler Perry's The Single Moms Club
    The problem here isn’t the writer-director’s politics, but his stifling lack of imagination, his complete refusal to even attempt narrative dexterity.
  29. Fifty Shades Freed
    By the end of Freed, Christian and Ana are no longer a rich man and his middle-class girlfriend, but two rich people telling the tale of how and why they got rich to each other. Doesn’t get more deviant than that.
  30. Rebel Moon Part 1: A Child of Fire
    Crumbling under the weight of its own visionary grandiosity, Zack Snyder’s Rebel Moon is a series of amazing-looking sets and costumes and effects looking for a story, characters, emotion — really, anything that might raise the pulse.
  31. The Lazarus Effect
    Sort of a Flatliners for the sensitive indie-actor set, The Lazarus Effect is a grimy, dopey, confused thriller that wastes a very likable cast.
  32. Smurfs
    It’s when the music stops and the movie is forced to contend with the mishmash of recycled elements it’s trying to use as a plot that it really flounders.
  33. Teenage Mutant Ninja Turtles
    Largely indistinguishable from any number of bloated superhero spectacles that have already graced our screens. Your kids may not mind it, but it’s more insistent than it is fun.
  34. This Means War
    The gut-whomping, high-concept romantic thriller This Means War is not a distinguished addition to director McG's oeuvre.
  35. That's My Boy
    The results are soul-corrodingly funny.
  36. Death Wish
    Death Wish is a classier version of what you can find on cable in the wee hours — it’s not worth seeing in the theater — but it’s worth pausing over its politics of guns.
  37. Hellboy
    It’s inert where it should be fast, and cluttered and choppy where it should be rousing. Which is a shame, because Hellboy, as conceived, is one of the more interesting comic book heroes we have. He deserves better than this.
  38. An American Affair
    The reason to see An American Affair is Gretchen Mol. She has a mild, natural way of holding herself that's likably unactressy--in every film, she seems both smart and grounded.
  39. Hounddog
    Fanning is a child actor with a grown-up soul, and every move, every breath, seems mysteriously right.
  40. Red Dawn
    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.
  41. Blended
    It’s a good family movie the way Hooters is a good family restaurant.
  42. Love the Coopers
    Jessie Nelson’s film sells itself well. There’s care in the details, and the characters often feel like actual people.
  43. Texas Chainsaw 3D
    The climax of Texas Chainsaw 3D is a bit more interesting and unpredictable than the usual horror-movie third act. But it feels like it's bred more out of desperation than anything organic; you can sense the gears turning in the screenwriters' heads as they try to figure out a way to breathe some fresh life into this franchise.
  44. Hot Pursuit
    A mixture of mild pleasures and deep disappointments.
  45. The Book of Henry
    It does not suffice to call The Book of Henry bad; it’s nonfunctional, so poorly conceived from the ground up as to slip out of the grasp of the usual standards one applies to narrative film. It might be admirable if it wasn’t such torture to watch.
  46. The Life of David Gale
    The Grisham-esque murder-mystery plot got so scrambled that, finally, it’s anybody’s guess what the filmmakers intended.
  47. Artemis Fowl
    The movie is so charmless and hopelessly incoherent that you might feel the need to consult Wikipedia afterward for some help on what it was even about.
  48. The Crow
    Skarsgård and Twigs have a total absence of chemistry, and while she’s adequate in what’s still basically a dead-wife role, he’s shockingly inert for someone with a career built almost entirely on characters at the intersection of creepy and hottie.
  49. Seventh Son
    Seventh Son not only offers no new spin on its bland, by-the-numbers story, it also fails to deliver any generic pleasures; I’m not sure this movie could even keep a young child engaged.
  50. Alex Cross
    What a whorish film this is: Even the serial killer lectures the detective.
  51. The Hangover Part III
    Turgid, unfunny catastrophe.
  52. Kill Me Three Times
    This twisty-turny film seems too enamored of its twisty-turniness to give us characters we can latch onto.
  53. The Electric State
    There’s something truly off-putting about The Electric State’s palette of junk and colorless branded robots. By trying to give this world such weight and grit, the filmmakers have doubled down on its ugliness.
  54. John Q
    Is it possible none of these actors read the script before they signed on? Were New Line executives perhaps too hung up on hobbits to notice how whacked out this movie is?
  55. Stonewall
    Unfortunately, Roland Emmerich is a terrible filmmaker, and his efforts to make his protagonist "relatable" backfire spectacularly.
  56. The House
    All these performers are given decent setups, but the script loses interest in anything that starts to look like a comedic through line.
  57. Mad Women
    I like the movie, though. It forced me to rethink the way sexual desire saturates everything, along with extreme vulnerability of children.
  58. I, Frankenstein
    Eckhart plays Frankenstein’s monster in a monotonous, teeth-gritting mode, as if someone had one gun on him and another on his family.
  59. Endless Love
    It’s actually worse than the 1981 Franco Zeffirelli–Brooke Shields version — which is worse than being waterboarded but at least bears some resemblance to the book and its brilliantly addled ‘70s vibe.
  60. She Hate Me
    Spike Lee’s She Hate Me is his worst movie ever--even worse than "Bamboozled," his self-serving indictment of modern minstrelsy, which at least was worth arguing about.
  61. Let's Be Cops
    Let’s Be Cops has its moments, but it in no way distinguishes itself.
  62. Paranormal Activity: The Ghost Dimension
    If only Ghost Dimension spent more time in the ghost dimension and less time in the people dimension, we might have had something.
  63. Daddy's Home 2
    This is a toxic, not at all benign film.
  64. Peppermint
    Peppermint has no surprises up its sleeve, and casting Jennifer Garner as the put-upon housewife turned gun-toting vigilante doesn’t change that. If anything, changing one element of the formula does more to expose its dullness than the same movie starring Liam Neeson.
  65. Vehicle 19
    Vehicle 19 sets up a fascinating conceit for itself, and then loses interest in delivering on it. It just wants to get to the cool car chase, but by the time it does, we’ve stopped caring.
  66. Driven
    Driven is recommended only to those gentle souls who want to know what it looks like to crash into a wall at 200 mph.
  67. Battle of the Year
    Luckily, there is a movie you can watch instead that will give you both fascinating context and awesome dancing. It’s called "Planet B-Boy."
    • 29 Metascore
    • 20 Critic Score
    Hurry Up Tomorrow
    The film is one-half Sound of Metal and one-half Misery: Unfortunately, those movies already exist.
  69. Hot Tub Time Machine 2
    It tries to repeat everything the original did, and winds up leaving you stone-faced and depressed. I think there were more laughs in Schindler’s List.
  70. Scary Movie 2
    Isn't scary, funny-scary, or even just plain funny.
  71. Rock the Kasbah
    The air of mourning might have worked as a counterpoint to the silliness if Mitch Glazer’s script had smart gags, but as one-liner after one-liner misses its mark, you begin to feel sorry for Murray, who’s really too old to be playing a guy who has a little daughter (not granddaughter) and likes to get kinky with Kate Hudson as a raucous, Dolly Parton–style hooker-businesswoman.
  72. Bright
    Bright turns out to be more interested in its mythrilpunk world-building than any kind of social commentary, which is a good thing, because while it is so-so at the former (the plot holes in this thing), it is clearly out of its depth with the latter.
  73. The Best of Me
    In The Best of Me, the melodrama feels so hurried and half-baked that the end result isn’t just disappointing. It’s borderline infuriating.
  74. I Am Sam
    I Am Sam is about as connected to the real world as Dr. Seuss's Green Eggs and Ham, from which its title is derived -- in fact, in the realism department, Seuss may have the edge.
  75. Hitman: Agent 47
    Hitman: Agent 47, much like its anonymous title, is a film pretending to be an action movie instead of the real thing. It might as well be a commercial. Or, hell, a video game.
  76. Infinite
    Infinite feels like a depressing fable about the movie industry.
  77. A Good Day to Die Hard
    A Good Day to Die Hard is the opposite of a labor of love. It has no good lines, no crackerjack fights, and only one mildly orgasmic revenge killing. It will satisfy no one — high-, low-, or middlebrow. Die Hard is finally in its death throes.
  78. Hick
    For a movie that deals with rape, criminality, and even racks up a real body count, Hick is whisper-thin and instantly forgettable.
  79. 47 Ronin
    This one never quite decides if it wants to be a big, boisterous epic or a solemn retelling, and it nearly disappears into the crack between the two.
  80. The Big Wedding
    The Big Wedding isn’t terrible. De Niro is actually pretty good here — the script gives him plenty of raunchy one-liners, and, while they’re mostly lame, he delivers with conviction, which counts for something nowadays.
  81. The Bag Man
    A wan little neo-noir whose intricacies inspire more tedium than suspense, The Bag Man is a good example of how to waste a solid cast.
  82. A Glimpse Inside the Mind of Charles Swan III
    As the film progresses, the actor fails to progress with it: As Charles Swan seems to become more aware of his loneliness, Charlie Sheen seems to become more protective of his Charlie Sheen–ness.
  83. Gentlemen Broncos
    The best part is Jemaine Clement as Benjamin’s grandiose genre hero, Dr. Ronald Chevalier. Even if you love him on "Flight of the Conchords," you’ll be unprepared for his genius--and charisma.
  84. Rage
    The movie is imprisoned by its Cage’s stiffness. All he gives us is strained, robotic seriousness. I’m not sure he even gives us any rage.
  85. Tyler Perry's A Madea Christmas
    I don’t know, maybe it worked as theater. Onscreen, it’s torture.
  86. Pixels
    A movie like Pixels should be stupid and energetic, not stupid and lifeless.
  87. Mortdecai
    In the end, we must lay the badness of Mortdecai at the feet of its star. I envy Depp’s capacity for self-amusement, but it’s a pity he’s so rich and enbubbled that no one dares say to say to him, “Er, Johnny ... this is, er, really very bad.”
  88. The Happytime Murders
    The Happytime Murders turns out to be a stupefyingly sh—y puppet movie.
  89. Flatliners
    I wish I could tell you they made a mistake and it’s not so bad, but, as Andy Kaufman’s Foreign Man would put it, “Ees so bad, ees terrible.”
  90. Sex and the City 2
    The most depressing thing about Sex and the City 2 is that it seems to justify every nasty thing said and written about the series and first feature film.
  91. Blacklight
    Part of the fun of movies like this is the opportunity for the audience to immerse themselves in the procedural minutiae of these worlds, but there’s precious little of that here. Everything is so empty, so incomplete. Blacklight feels like a synopsis waiting for a story.
  92. Transformers: The Last Knight
    The Transformers movies are a favorite object of critical scorn, and narratively, The Last Knight remains barely coherent. But it’s more fun than "Age of Extinction," though both movies are so drunk on money and effects they accidentally go weird.
  93. The Women
    It's fascinating trying to separate the thirties material from the mostly maladroit additions.
  94. Terminal
    What’s Terminal about? It’s about 90 minutes. That’s a cheap shot, but since the film doesn’t establish a baseline of reality, it’s hard to pick out a premise. It’s a series of playlets stitched together with the seams hanging out.
  95. Fantastic Four
    Given the level of talent involved both in front of and behind the camera, nobody should feel much joy — no anti-tentpole schadenfreude or blockbuster-busting righteousness — to discover that the latest Fantastic Four film is a catastrophe
  96. A Thousand Words
    His performance feels so disingenuous, so forced, that an otherwise perfectly acceptable high-concept comedy comes crashing down around him.
  97. Dolittle
    Dolittle is a calamity for the ages.
  98. The Choice
    By the time its finale rolls around, The Choice has completely undone its own spell.
  99. Borderlands
    This movie feels like it’s been shredded to bits, stripped clean of personality and character and coherence, presumably in an effort to get it short enough to sneak in some additional screening times.
  100. Madame Web
    Even Johnson has her limits, and Madame Web, one of Sony’s attempts to build out its own Spider-Verse, blows so far past them that you can practically guess which scenes were shot last based on the degree to which its star has given up.
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