New York Magazine (Vulture)'s Scores

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For 3,960 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: 2,219 out of 3960
  2. Mixed: 1,378 out of 3960
  3. Negative: 363 out of 3960
3960 movie reviews
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  1. You Don't Mess with the Zohan
    Director Dennis Dugan knows his way around shin-whacking slapstick, and Sandler is mesmerizing.
  2. The Go-Getter
    This one is alive with discoveries--of locations, characters, the actors who embody them, and even the medium. In The Go-Getter, filmmaking itself feels like Manifest Destiny.
  3. Mother of Tears
    The first two thirds are gangbusters, with marauding bands of tarted-up young witches who look only slightly less scary than Lindsay Lohan and her pals on an average night.
    • 80 Metascore
    • 80 Critic Score
    Take Out
    Shih-Ching Tsou and Sean Baker’s gripping, no-budget tale of a day in the life of a young Chinese immigrant taking on extra restaurant delivery duties in order to pay off a debt manages to mix immersive, pseudo-documentary filmmaking with a suspenseful narrative.
  5. Operation Filmmaker
    Operation Filmmaker doesn't quite shake out as a microcosm of the American-Iraq relationship, although Davenport cheekily toys with the conceit. But the movie is endlessly resonant.
  6. Savage Grace
    Howard A. Rodman's script has a lot of juice, and the rhythms are so pregnant that the air vibrates with something, even if you're not sure what.
  7. Sex and the City
    Sex and the City: The Motion Picture is a joyful wallow. And it's more: In this summer of do-overs (The Incredible Hulk, a new Batman versus a new Joker), it's what the series finale should have been.
  8. Stuck
    The film becomes an aria of agony--but with a rousingly yucko finish!
  9. Indiana Jones and the Kingdom of the Crystal Skull
    No mainstream filmmaker since Orson Welles can touch Steven Spielberg when it comes to camera movement and composition--or, more precisely, to composition that gets more vivid as the camera moves...It's the work of a man with film storytelling in his blood. What a bummer when the story he has to tell is a cosmic nothing.
  10. The Edge of Heaven
    The Edge of Heaven is powerfully unsettled--it comes together by not coming together.
  11. The Chronicles of Narnia: Prince Caspian
    Such a clunkerama that it made me rethink all the nice things I wrote about its predecessor, "The Lion, the Witch and the Wardrobe." Could the same people have made both films?
  12. Reprise
    Broadly, this is a coming-of-age movie in the "Diner" mold: Trier tracks Phillip and Erik and a few of their pals as they stagger into a world that can't be attuned to their (male adolescent) expectations--especially in regard to women.
  13. Sangre De Mi Sangre
    Zalla, a graduate of Columbia's film school, is talented and single-minded. He needs to lighten up, literally. He frames his characters to bring out all their sweaty desperation, and his palette is dark with splashes of muddy brown; even the street scenes look as if they were shot in a dungeon.
  14. Speed Racer
    Orgy, hell: The film is like a nightmare in which you're trapped in an arcade with screens on all sides and no eyelids. Based on an elemental but happily streamlined Japanese cartoon (an anime precursor), it's an eyesore, a shambles, with incoherent action and ear-buckling dialogue.
  15. Turn the River
    Has a mixture of edginess and melancholy that's beautifully sustained until the climax, when the tang of realism becomes the cudgel of melodrama.
  16. Battle for Haditha
    Battle for Haditha has some of the raw energy of Sam Fuller's war pictures, which weren't subtle but left you energized by their ambivalence (there was no good or evil). It's a hell of a picture.
  17. Iron Man
    Loyal assistant, Pepper Potts, isn't much of a part, but Gwyneth Paltrow is a presence. She stands around looking amused and flabbergastingly pretty, slinging wisecracks with serene aplomb.
  18. Mister Lonely
    I'm glad Korine has pulled himself together, but the film is pretty ramshackle, full of obvious group improvisations that fail to spark and an overdose of bathos.
  19. Redbelt
    So how's the Mamet "Rocky"? Fast. Lively. In your face. Very watchable. And, like its predecessors, so bizarrely convoluted it barely holds together on a narrative level. But the underpinnings are consistent.
  20. Standard Operating Procedure
    I’m not sure Morris clinches his case, but I’m not sure he wants to: His aim is to throw a monkey wrench into the cogs of our perception.
  21. 88 Minutes
    Forget Pacino; it’s all those red herrings that reek.
  22. The Forbidden Kingdom
    Once past the clunky prologue, the film is great fun, with a good balance between computer effects and athleticism.
  23. Forgetting Sarah Marshall
    But even with bits that are crazily inspired, Forgetting Sarah Marshall is depressing. The Apatow Factory is too comfy with its workers’ arrested development to move the boundary posts. If they could find scripts by female writers that dramatize the other side of the Great Sexual Divide, it might be a place of joy--and embarrassed recognition--for everyone.
  24. The Life Before Her Eyes
    In a vile-movie competition between Michael Haneke’s "Funny Games" and Vadim Perelman’s The Life Before Her Eyes, Haneke’s film would win--but only because he’s working so much harder to be noxious.
  25. Where in the World Is Osama Bin Laden?
    The film is a hodgepodge, and it closes with a whimper. But along the way some lucid voices slip through.
  26. Smart People
    The middling romantic comedy Smart People, which centers on a hyperintellectual dysfunctional family, is of interest chiefly for the first post-Juno role of Ellen Page.
  27. Flight of the Red Balloon
    In The Flight of the Red Balloon, the great Taiwanese filmmaker Hou Hsiao Hsien uses Albert Lamorisse’s 1956 masterpiece "The Red Balloon" as a springboard for his own masterpiece--a distinctively modern and allusive one, yet so tender and plaintive that you understand what Hou is up to on a preconscious level.
  28. Shine a Light
    My favorite rock-concert movies, Jonathan Demme’s "Stop Making Sense" and "Neil Young: Heart of Gold," are organic: They chart a miraculous path from sound to soul. Scorsese stays on the outside, as befits his temperament and his subject. Yet there is, amid the whirligig spectacle, a spark of connection.
  29. Run, Fatboy, Run
    I wouldn’t believe that Run, Fat Boy, Run was co-written by Simon Pegg (of Shaun of the Dead and Hot Fuzz) if he weren’t up there on the screen in teeny briefs and with his gut stuck out, trying to endear himself to the American audience in material maybe a notch above Rob Schneider’s.
  30. My Brother Is an Only Child
    What makes My Brother Is an Only Child so alive and entertaining is how it dramatizes the endless tug-of-war between political conviction and personal experience--the way the lines twist and blur and finally implode.
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