New York Magazine (Vulture)'s Scores

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For 3,962 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: 2,221 out of 3962
  2. Mixed: 1,378 out of 3962
  3. Negative: 363 out of 3962
3962 movie reviews
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  1. In Bruges
    For In Bruges to click, McDonagh needed either to get more real or more fake.
  2. Pearl Harbor
    For all its agonizing true-life trappings, has the staying power of a grand-scale video game. Manhattan's sushi bars are in no danger of going dark.
  3. Kill Bill: Vol. 1
    When French New Wave directors like Truffaut and Godard paid tribute to Hollywood pulp, they poeticized it and gave it an infusion of feeling. Tarantino’s tributes are, for the most part, far less complicated: He’s a fan, and Kill Bill is his mash note.
  4. The Expendables 2
    Believe it or not, there's a strange kind of lifelessness to the movie that makes you wish it were dumber -- that it was more obnoxious and louder and crazier.
  5. I'm Not There.
    Too often, it’s the MOVIE that isn’t there. What’s meant to be archetypal comes across as superficial.
  6. Elegy
    A spare, melancholy film that is so far in spirit from its source, Philip Roth's "The Dying Animal."
  7. Concussion
    There’s a lot of good stuff here, but the movie often seems more interested in ennobling rather than dramatizing.
  8. Ali
    Ultimately, Ali is a far more complex creature than this movie allows for.
    • 42 Metascore
    • 50 Critic Score
    Aquaman And The Lost Kingdom
    Winningly goofy but blemished by behind-the-scenes tinkering, The Lost Kingdom is disappointing in the usual sequel way: It rearranges without deepening the elements people liked about its predecessor.
  10. Alpha
    Alpha is more evidence of Ducournau’s genius for evocative imagery and striking compositions, but it also suggests she’d benefit from boundaries to push against.
  11. Transcendence
    Transcendence never quite succeeds at telling a story of scientific overreach. And it doesn’t really click as an action movie either. But as a human tragedy of man and monster, of beauty and beast, it has just enough genuine pathos that you wish it were better.
  12. I Care a Lot
    I Care a Lot wants to race along like a caper movie; it wants to sting like a satire. But it often winds up fighting itself, paralyzed by its own toxin.
  13. Chloe
    Few films go as obviously and bewilderingly wrong as Chloe, but for the first hour it’s a potent little melodrama in which the smooth, super-controlled storytelling contains the theme of unruly obsession like a straitjacket.
  14. The Bikeriders
    The film wallows in a particular brand of Americana — denim and leather, cornfields and Harley-Davidsons, crumpled packs of cigarettes and boilermakers on the bar at a dive — without being comfortable laying claim to it.
  15. Guardians of the Galaxy Vol. 2
    It’s not the weighty emotions that drag Vol. 2 down. It’s the plot that chases its own tail and the cluttered visual palette.
  16. Anemone
    It’s a transcendent performance, somehow both a miracle and the kiss of death. It is good enough to almost elevate the entire movie above its many awkward shortcomings. And yet it also crystallizes those shortcomings.
  17. The Way, Way Back
    The story doesn’t feel dramatized. It feels pitched.
  18. Mary Poppins Returns
    Mary Poppins Returns is a work of painstaking re-creation, and it’s full of nice touches. But it’s a bit of a dud.
  19. Lightyear
    While the movie feels empty and pointless overall, it’s not without its scattered interesting elements.
  20. Mapplethorpe
    Mapplethorpe doesn’t linger long enough to have a present tense. It hits its marks and breezes on. It’s not inept — there are few bad scenes. It doesn’t risk enough to be bad.
  21. Thanksgiving
    Roth has a talent for anticipation, but not really for suspense. We don’t watch Thanksgiving wondering what’s going to happen next to these people. We watch because we know what’s going to happen next to these people.
  22. Hot Pursuit
    A mixture of mild pleasures and deep disappointments.
  23. Smile 2
    As Skye becomes increasingly unable to tell what’s actually happening and what’s a waking nightmare, we should feel more for her, and we should feel more with her. Instead, we lose interest, as the whole thing becomes pointless and even a little cynical and cruel. The movie ultimately scuttles its own ambitions.
  24. Deep Water
    Few recent movies better embody the vibe that in a spiritual vacuum all that matters is momentary sensation, a dry quickening of the pulse to counteract the emptiness of what we might still choose to call “existence.”
  25. Little
    As many times as I tried to get onboard with its proposed brand of breezy fun, it kept kicking me off, if only because I found myself running up against the very foundation of its premise.
  26. Voyeur
    By its close, Voyeur spouts some lines about how we all like to watch, and we are left with three documents of the Voyeur’s Motel and no closer to knowing why we should care.
  27. This Is Where I Leave You
    Somewhere in this mess, there might be a very good movie.
  28. Cold Pursuit
    Cold Pursuit ultimately winds up being about how unsatisfying films like Cold Pursuit can be.
  29. Challengers
    Like the film Challengers itself, Zendaya is a star who still operates on the surface of things.
  30. Tusk
    Tusk is not a particularly good movie, but the vivid anxiety dream at its heart makes it one of the most personal films this writer-director has ever made.
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