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 Green Knight
    The Green Knight is about someone who keeps waiting for external forces to turn him into the gallant, heroic figure he believes he should be. But at the film’s heart is a lesson that’s as timeless as any legend — travel as far as you like, but you’ll never be able to leave yourself behind.
  2. The Bourne Ultimatum
    It’s not just vérité--it’s battlefield vérité; it triggers your fight-or-flight instincts.
  3. Harry Potter and the Deathly Hallows: Part 2
    HPATDH 2 works like a charm. A funereal charm, to be sure, but then, there's no time left for larks.
  4. Take Shelter
    Nichols has a genius for making landscapes and everyday objects resonate like crazy, for nailing the texture of dread.
  5. The Salesman
    All I can is that I didn’t draw too many breaths during the last half hour.
  6. The Pianist
    Polanski’s strongest and most personally felt movie.
  7. Children Underground
    Belzberg doesn't intervene during the moments of violence, believing that the film can force social change only by showing the worst. If she is correct, then this film should move mountains.
  8. Dahomey
    If the rest of the film takes a somber, poetic perspective on the symbolic and literal nature of this partial restoration of a lost heritage, its youth represents a bold, discordant, and exciting counterpoint — vital and engaged, looking toward a future they demand be better than the past.
  9. Get Out
    Get Out is a ludicrous paranoid fantasy, but that doesn’t mean it’s not alive in the unconscious. Having it out there in so delightful a form helps us laugh at it together — and maybe later, when we’ve thought it over, shudder.
  10. West Side Story
    Whether this new picture is a masterpiece, or a masterful reimagining of a troublesome original, will have to remain in the eye of the beholder.
    • 85 Metascore
    • 90 Critic Score
    California Split
    What lingers after the film’s bittersweet conclusion are the melancholy details of people leading lonely lives of compulsion and loss, looking for sympathetic companions in order to feel less sick.
  12. Amy
    Alternately thrilling and devastating, throwing you back and forth until the devastation takes over and you spend the last hour watching the most supernaturally gifted vocalist of her generation chase and find oblivion.
  13. The Edge of Heaven
    The Edge of Heaven is powerfully unsettled--it comes together by not coming together.
  14. The Savages
    The Savages is a delightful movie--the perfect companion piece (and antidote) to the year’s other superb convalescent-dementia picture, "Away From Her."
  15. Birds of Passage
    The movie is a knockout.
  16. An Education
    For all its original touches, though, An Education follows a conventional trajectory.
  17. Ash Is Purest White
    By the end, the transformation of China is more compelling than Qiao’s love for Bin, but watching both unfold over time is continually thought-provoking, given the ephemerality of whole cities, much less love affairs.
  18. The Treasure
    Drolly funny and rigorously executed, Corneliu Porumboui’s The Treasure offers a fine example of the conceptual boldness that characterizes much of New Wave Romanian cinema.
  19. The Rider
    In telling the story of a disappearing slice of America, Zhao has created a portrait of resilience, and the bonds that last even after the rodeo’s over.
  20. Close Your Eyes
    Erice’s fourth feature is a stirring tale about memory, identity, and friendship, and it feels deeply, almost alarmingly personal.
  21. The Delinquents
    The Delinquents works its magic on us the way that the promise of freedom works on its characters. It’s a vision of a life unlived — as impossible as it is intoxicating.
  22. Eighth Grade
    Burnham made his name as a stand-up comedian, and if you can manage to look at Eighth Grade objectively — which isn’t easy, given the wallop it packs — you’ll see that it’s pretty slick.... But the slickness is dispelled whenever Elsie Fisher is onscreen, which is practically always.
  23. Exit Through the Gift Shop
    Narrated by Rhys Ifans with the dryness of a dessicated toad, Exit Through the Gift Shop is both an exhilarating testament to serendipity and an appalling testament to art-world inanity.
  24. Offside
    As the political rhetoric between Washington and Tehran becomes dangerously overheated, Offside offers an intimate antidote: an affectionate glimpse into the cultural schisms that young Tehranis face every day. Western audiences will cheer the rebellious girls on.
  25. Club Kid
    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.
  26. Knocked Up
    Knocked Up feels very NOW. The banter is bruisingly funny, the characters BRILLIANTLY childish, the portrait of our culture's narrowing gap between children and their elders hysterical--in all senses.
  27. The Departed
    The movie works smashingly, especially if you haven't seen its Hong Kong counterpart and haven't a clue what's coming. But for all its snap, crackle, and pop, it's nowhere near as galvanic emotionally.
  28. Yes
    Yes! becomes an anguished film, though that eventuality isn’t as nauseatingly propulsive as its first chapter, which is such a caustic depiction of cognitive dissonance that it stings to watch.
  29. Spring, Summer, Fall, Winter... and Spring
    Kim exalts nature--life’s passage--without stooping to sentimentality. He sees the tooth and claw, and he sees the transcendence. Whether this is a Buddhist attribute, I cannot say, but the impression this movie leaves is profound: Here is an artist who sees things whole.
  30. Tinker Tailor Soldier Spy
    I've heard it said that Le Carré's work lost its savor with the end of the Cold War, which is as dumb as discounting "Coriolanus" because Romans and ­Volscians are no longer killing each other. Le Carré's subject was the national character and what happened to it under threat and in the absence of public scrutiny. It could hardly be, mutatis mutandis, more contemporary.
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