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. Stalingrad
    While the imagery in this retelling is impeccable, the story is strangely lifeless.
    • 56 Metascore
    • 50 Critic Score
    Alive
    Despite much fervent talk of the beauty of the mountains and the closeness of God, Alive peters out. [25 Jan 1993, p.55]
    • New York Magazine (Vulture)
  3. The War with Grandpa
    The amiably bland family comedy The War With Grandpa genuinely surprises with how un-special it is. It’s the kind of film that seems to vanish from the mind even as you’re watching it.
  4. Rustin
    All in all, one walks away from Rustin enchanted with Domingo’s performance, while feeling that a character as larger than life and momentous as Bayard Rustin surely deserves a film less dutiful and more inspired.
  5. Need For Speed
    Based on the popular video games, this is a movie with breathtakingly visceral racing scenes, and they are matched by a breathtakingly, breathtakingly terrible script.
  6. Caught Stealing
    Caught Stealing is an intermittently fun experience that would be a better time if Aronofsky either loosened up a little more or, conversely, maintained a tighter grip on the wheel.
  7. The King of Staten Island
    The King of Staten Island shrinks Davidson down a little too much, to the point where his pathos and humor doesn’t blend with but actively gets obscured by his immaturity.
  8. The Skin I Live In
    It's the only Almodóvar movie in which feeling, emotional or sexual, doesn't suffuse the imagery and hold the ramshackle melodrama together.
  9. Mirror Mirror
    The Snow White comedy Mirror, Mirror turns out to be not that terrible - or maybe it's that the terrible first half hour wears you down so much that the rest seems relatively pleasant.
  10. The Bourne Identity
    All this is diverting but also borderline dull.
  11. The Impossible
    I'm not sure any other actress today could have pulled this off without seeming cheap or manipulative. The same, unfortunately, cannot be said for the movie itself, which often traffics in the manipulative.
  12. Charlie's Angels: Full Throttle
    So relentlessly giddy and hyperactive that it doesn’t really need a movie review--it needs a prescription.
  13. Elysium
    The action is bludgeoning. When Max gets pummeled by fists and lethal objects, we get pummeled by light and noise and rock-'em-sock-'em editing. No shrimp, though. As a narrative, "District 9" wasn't particularly original, either — in the end it was a standard conversion melodrama. But everything is better with shrimp.
  14. Jack Reacher
    The whole movie is like an NRA wet dream, with Robert Duvall as a crusty gun-range owner who pitches in to shoot bad guys. Jack Reacher already feels as if it belongs to another era.
  15. The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
    More often McNamara comes across as Exhibit A in Morris's latest metaphysical creepshow.
  16. Haunted Mansion
    Disney’s new Haunted Mansion is a hot mess, but it’s a sporadically entertaining one.
  17. The Upside
    That more or less is The Upside in a nutshell. It’s a film that contains complicated, sad, interesting ideas rarely expressed on screen — even Kidman’s scold character unfolds into a more intriguing person, full of contradictions — but whose package is fundamentally unsuited to showcase those ideas, like a sweater with the holes in all the wrong places.
  18. The Water Diviner
    If only Crowe brought the same subtlety to his direction that he brings to his performance.
  19. Gemini Man
    At its core is a scenario in which someone’s given the chance to confront their younger self and call out their worst choices — one that feels like it has more to do with therapy than with all the unconvincing action in which it’s unfortunately packaged.
  20. CHAOS: The Manson Murders
    There’s a bitter irony to the fact that, whether due to access issues or an inability to wrangle what he wanted from his material, in retreading the Manson details, Morris has made something that feels a lot closer to that omnipresent slop than to the work that inspired it.
  21. This Is the End
    Some of that fun is infectious. For a while. Maybe 45 minutes. But when actors look as if they’re having a better time than you are, the buzz wears off fast. You turn into a wallflower at an especially obnoxious party.
  22. Let's Be Cops
    Let’s Be Cops has its moments, but it in no way distinguishes itself.
  23. Instant Family
    Instant Family is a surprisingly foul-mouthed, filled-to-bursting roller coaster of a comedy-melodrama that tosses you in eight different directions before leaving you a teary, conflicted mess. And when it works, it’s genuinely funny and moving. But when it doesn’t, hoo boy, it’s atrocious.
  24. Robert the Bruce
    If I’ve made Robert the Bruce sound laughable, I’ve misrepresented it. It’s not bad at all. Though he is unusually uncharismatic, Macfadyen (who co-wrote the script) is an excellent actor, and Richard Gray directs ably. But that word — “ably.” I never used it before. It’s the bottom of the neutral zone, before you dip into negative territory.
  25. Quantum of Solace
    If the staging were as witty as the plotting, Quantum of Solace might have been a corker like "Casino Royale." But when the action starts, art-house-refugee director Marc Forster (Monster’s Ball) mashes together close-ups in the manner of "The Dark Knight," and every big set piece is borderline incoherent.
  26. Elephant
    It’s just another example of art-house hokey-pokey. Amazingly, this film won both the Palme d’Or and Best Director Award at Cannes, beating out, among others, "Mystic River."
  27. Gomorrah
    Gomorrah isn't memorable. The structure feels random, and the characters remain at arm's length. Next to HBO's "The Wire," which depicted an enormous financial ladder and also brought to life the characters on every rung, the movie is small potatoes: excellent journalism, so-so art.
    • 52 Metascore
    • 50 Critic Score
    Snake Eyes
    I can't think of another movie that starts so brilliantly and ends so miserably as this one.
  29. Frozen II
    It’s easier to think about Frozen II as a product than as a film because a (sometimes stunning-looking) product is all that it feels like.
  30. Normal
    I was never bored by Normal, but I’d also be lying if I said I was ever excited by it. Maybe it’ll help you forget your troubles for an hour or two, but there’s also a good chance you’ll forget the movie itself in even less time.
Page:

Top Trailers

See all »
See all trailers »