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. The Grinch
    The good news is that within its own little cinematic fantasy realm, Scott Mosier and Yarrow Cheney’s The Grinch manages to be pleasantly moving in its treatment of Seuss’s classic solitary crank. As voiced by Benedict Cumberbatch, the Grinch is a surly, sour, but ultimately wounded soul.
    • 51 Metascore
    • 30 Critic Score
    Wild Things
    Wild Things, which was written by Stephen Peters and directed by John McNaughton, lacks fantasy and flamboyance, that it lacks, precisely, wild things, and that most of it is just flat.
  3. Dumbo
    It’s not hard to enjoy Dumbo. Like the circus owners and carnival crackpots who try to exploit the flying elephant for all he’s worth, Tim Burton still knows how to give us what we want. He may think of himself as the tormented freak on display, but he’s also clearly the all-powerful showman, ready to exploit our sense of wonder.
  4. Rough Night
    Rough Night, which is like an episode of Broad City that got a blowout and smoked a pound of primo studio notes, tries to have it both ways. It wants to be a character-based lost-weekend romp, but keeps forcing itself toward increasingly ridiculous and self-consciously naughty set pieces.
  5. Cleaner
    Unfortunately, the script and the performances for Cleaner falter before the mayhem starts.
  6. Peter Rabbit
    It’s so insistent that this isn’t your great-grandmother’s Peter Rabbit — while, again, not straying from the original character design all that much — that it feels like the animators are at war with the writers, and the loudest of the two groups tends to win out at every turn.
  7. Wild West Comedy Show: 30 Days & 30 Nights - Hollywood to the Heartland
    It was undoubtedly a great experience for everyone involved, and the show itself might have been a romp. But as a movie, Vince Vaughn’s Wild West Comedy Show makes you think of the days in which troupes that didn’t deliver were run out of town, bullets pinging off their heels.
  8. Where'd You Go, Bernadette
    He’s a deceptively crafty director (he fakes naturalism beautifully in movies like "Dazed and Confused," "Before Sunrise," and "Boyhood"), but he can’t find a suitable form for Maria Semple’s patchwork best seller about a misanthropic, malcontented ex-architect named Bernadette.
  9. Operation Fortune: Ruse de Guerre
    Come to think of it, these are all great roles — for Statham, Plaza, and Hartnett. Everybody in Operation Fortune — yes, even Ritchie — seems to be having fun. Sometimes, that’s all you need.
  10. 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.
  11. Me Before You
    Clarke is so insistent on becoming the new adorkable life force that she’s excruciating to watch. The movie makes you admire all the more her restrained power in Game of Thrones, in which her eyebrows are largely stationary.
  12. The Fountain
    The movie would be more bearable without the unyielding score by Clint Mansell, which somehow melds the worst of Minimalism, art rock, and New Age music. It's what you'd hear if your massage therapist wanted to induce a stroke.
  13. Karate Kid: Legends
    There’s plenty of talent involved here, but the film fails to cohere on a basic level. Yes, it’s a legacyquel, says so right there in the title, but did it have to be so lazy? Especially in a world where Cobra Kai exists?
  14. Izzy Gets the F*ck Across Town
    I know I’ve been rather harsh on an indie film that deserves points for its ambitions, so let me end on a brighter note. If Papierniak took that scene with Stanfield and started over with it, he might have a hell of a good rom-com. He needs to learn to separate the gold from the f*cking shit.
  15. Jay and Silent Bob Strike Back
    As Jay and Silent Bob, Jason Mewes and Kevin Smith are the perfect comedy team for smart, dirty-minded 15-year-olds, which means just about all of us.
  16. The Accountant
    The action-thriller The Accountant is laughable, but when you’re not laughing at it, you’re laughing with it. It’s enjoyable enough.
  17. I Think We're Alone Now
    After its intriguing start, the movie gets dumb and dumberer. “Third-act problems,” concluded many in the Sundance audience. But the first two acts have issues, too.
  18. Trolls World Tour
    Trolls World Tour is ruthlessly simple, rushed, and obvious.
  19. White Bird in a Blizzard
    Evocative, gorgeous, occasionally maddening film.
  20. Ender's Game
    Ender’s Game’s only lyrical presence is Breslin’s. The actress has a gentle soul. In the end, she’s the movie’s mascot, and its mournful spirit.
  21. The Six Triple Eight
    The Six Triple Eight is about people who received no public recognition for their achievements at the time, but in trying to give them their belated due onscreen, this clunky excuse for a war movie ends up being more about what they endured than about what they accomplished.
  22. Half of a Yellow Sun
    Transporting, well acted, and occasionally powerful. It’s also a rushed, maddening mess.
  23. Holy Rollers
    Holy Rollers fuses a somber, old-world palette with a jittery urban unease--a good mix of tones. It’s also wonderfully acted.
  24. The Gentlemen
    For a filmmaker who used to make these movies with a measure of anarchic glee, Ritchie appears to have bought into his own bullshit here.
  25. 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.
  26. Mowgli: Legend of the Jungle
    Mowgli: Legend of the Jungle is a more troubled beast, the surly goth teen of the Kipling remake pack, with maybe a touch of pyromania and an alarming fondness for blood. Its edges are rougher, and its animation isn’t quite as jaw-dropping. But it’s also beautiful in its own phantasmagoric way.
  27. Train to Busan Presents: Peninsula
    The zombie sequences are strictly pro-forma; the undead are treated mostly as a nuisance rather than a genuine threat this time around, which is probably intentional. The car chases are debilitatingly fake-looking and try to make up for their flatness with speed, to little effect.
  28. Lovelace
    Lovelace is a respectable job, but it never goes deep.
  29. Marry Me
    For all that it has been positioned as the comeback of the rom-com queen, Marry Me isn’t really a return to form for the genre. Instead, it aims to have things both ways, to have the glamour and the buoyant fantasy and to also be more textured in its treatment of its characters and their relationship.
  30. John Carter
    There's no wonder or elation or even dopy sincerity here - just a high level of proficiency and, yes, a lot of expensive CGI.
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