New York Magazine (Vulture)'s Scores

Select another publication »
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
view
per page
  1. Down with Love
    It’s all strenuously camp.
  2. The Curse of the Jade Scorpion
    The problem is that Allen is getting a bit long in the tooth to be playing a romancer-rescuer, and since he and Helen Hunt have a rather frigid actorly rapport, we have plenty of time to notice the awkward, and barely acknowledged, disparity in their ages.
  3. Happy Gilmore 2
    The dissonance between that meditative quality and a premise as goofy as Happy Gilmore’s is jarring, though it’s hard to blame Sandler for taking the time to look back, no matter the context.
  4. Parthenope
    Our protagonist comes to feel like an avatar of the very ideas of youth and possibility, which also makes her an avatar of the opposite of those things — the idea that life eventually passes us all by. In creating a film about one beautiful person, Sorrentino reminds us that, in our memories, we were all beautiful once.
  5. Black Snake Moan
    It's outlandish, hilariously overripe, and possibly sexist: You'd expect no less from Craig Brewer, the writer and director who made the passionate case for how hard it is out there for a pimp. But I loved the picture's tabloid energy and heart.
  6. Love Me
    Love Me, despite having two incredibly expressive actors at its center, remains furiously literal-minded in its questioning. And unfortunately, the more questions this picture asks, the more maudlin and shallow it becomes.
  7. Blackhat
    Good enough to make you wish it were better.
  8. Fay Grim
    It's a rich idea -- a Hartley-esque variation on the theme of American Innocents Abroad. And it works superbly until -- well, Grim's the word.
  9. Greendale
    Neil Young’s concept album turned concert tour turned movie, which is like nothing I’ve ever seen--at least not in an unaltered state.
  10. Coming 2 America
    Coming 2 America is both figuratively and literally a nostalgia tour.
  11. Insidious: Chapter 3
    This is so often the problem with this genre — scary setups, followed by dopey resolutions — that you sort of want to give the movie a pass. But given its distinguished forebears, Insidious: Chapter 3 doesn’t quite live up to expectations.
  12. Cuban Fury
    Cuban Fury has a surprising amount of fun with these acknowledged clichés. At times, the movie has the energy of an "Anchorman"-style spoof — a hilarious late-movie dance-off between Bruce and Drew takes on absurdist overtones, as they dance on car roofs and do increasingly impossible moves.
  13. Boulevard
    Boulevard is a sad, hesitant little movie about a sad, hesitant little man. That may be a far cry from the Robin Williams roles we knew and loved, but it’s not a bad one on which to go out.
  14. The Lake House
    Deliriously stupid romantic time-travel drama.
  15. Trap
    It works so much better than should be possible because of Hartnett, who gets a showcase on par with the one the filmmaker gave to James McAvoy in Split.
  16. Death on the Nile
    When given the freedom, he can be one of the most overheated of directors, but the excess rarely feels cynical or cheap. In fact, it feels personal. You sense that he wants you to get excited about this stuff because he gets so excited about this stuff.
  17. Spirit: Stallion of the Cimarron
    Spirit's narration comes to us courtesy of Matt Damon, who, having played a horse's ass in some of his earlier movies, perhaps thought it wise to inhabit the entire nag this time around.
  18. Eternals
    With Eternals, Marvel proves itself to be nothing more than a staid, lumbering black hole.
  19. The United States vs. Billie Holiday
    The United States vs. Billie Holiday (which is out now on Hulu) wants to be a history lesson, but it’s at times so one-note and inert that it loses any sense of authenticity.
  20. Maggie
    It’s not a great movie, but it’s haunting, a sort of one-stop shop for a range of cultural anxieties — plague, environmental catastrophe, big government threatening the sanctity of home and family.
  21. Murder on the Orient Express
    To return to why Murder on the Orient Express was remade: Beats me. Maybe it’s someone’s idea of counterprogramming when every other film in the multiplex is for kids or yahoos. Maybe it’s a tax shelter.
  22. Da Sweet Blood of Jesus
    It’s a genre-bending mash-up, a non-vampire vampire movie about class, race, love, and cruelty. It consciously seeks to marry its diverse influences in an attempt to present something between schlock and art house, between passionate gore and urbane chill. It contains multitudes, and not always all that well.
  23. Possession
    "In the Company of Men," "Your Friends & Neighbors," and "The Shape of Things," at least held you. Possession piddles away as you're watching it.
  24. Serendipity
    I've never understood why filmmakers construct romances in which the leads hardly spend any time together.
  25. Charlie's Angels
    Where the last two Charlie’s Angels installments were sold on their trio of stars, this soft reboot has leads at various levels of recognizability, and they all seem to be acting in their own movie.
  26. The Amateur
    Malek keeps trying to find the emotional center and dignity of a character who’s pure pulp, and while it’s an admirable effort, it’s also jarringly unsuited to the movie.
  27. Anyone But You
    It would be silly to call Anyone But You smart, but it has a knowing quality that allows it to confidently navigate some of the more familiar aspects of the rom-com.
  28. Ghost in the Shell
    The filmmakers think little of the emotional and intellectual connection fans already have with this property, and have put all their chips on the aesthetic. It’s exhausting to watch them curate what parts of the story’s Japanese origin are worth keeping and which can be discarded.
  29. Magic Mike's Last Dance
    Despite being half–“Let’s put on a show” movie and half–romantic comedy, two genres dedicated to delight, Magic Mike’s Last Dance never achieves satisfaction.
  30. Running with Scissors
    Ryan Murphy’s jaunty screen version of Running With Scissors proves that nothing consecrates one's depiction of a narcissistic mother like having her embodied by Annette Bening. Bening's specialties are (a) insane people and (b) actresses.
Page:

Top Trailers

See all »
See all trailers »