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. Taken
    Taken--in the hands of director Pierre Morel (District B13), with Neeson in nearly every shot--works like gangbusters. The Frenchies have made the filet mignon of meathead vigilante movies.
  2. Anonymous
    A well-polished cowpat that will confuse and bore those who know nothing about Shakespeare and incense those who know almost anything.
  3. 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.
  4. Disenchanted
    This isn’t an organic continuation of Giselle’s story so much as an uninspired knockoff of the original, yet another attempt to use existing IP to attract viewers and subscribers besotted by the prospect of watching something familiar on a Friday night.
  5. Wolf Man
    Wolf Man is a blunt movie, but it also feels like only half a movie.
  6. City by the Sea
    The role plays all too easily into De Niro's worst current habits. He's dulled himself out in the service of a phony kitchen-sink pseudo-realism. For De Niro, less has become less.
  7. True Story
    There’s only one good scene in True Story, though it’s the most flagrantly absurd.
  8. Maze Runner: The Death Cure
    This is the sort of action film where the bad guys often hold their fire for no discernible reason, and are terrible at dodging things, but if one suspends one’s disbelief long enough, they’re rewarded with a rollicking, highly competent popcorn movie.
  9. Last Christmas
    Sometimes you just have to let yourself be a sucker for the obvious — whether it’s for a holiday movie, a ridiculous romance, or an awkwardly grafted-on but very timely theme.
  10. The Water Diviner
    If only Crowe brought the same subtlety to his direction that he brings to his performance.
  11. Now You See Me: Now You Don't
    The pieces are in place — detestable villain, likable cast — but Now You Don’t can’t muster up the energy or the wit to make us care one lick about what’s happening onscreen.
  12. No Strings Attached
    No Strings Attached is so palpably calculated that you know if the camera had pulled back a foot from the bed in which Portman and Kutcher were pretending to have sex, you'd have seen their agents standing by beaming: proud parents, proud pimps.
  13. Closed Circuit
    Everything unfolds elegantly, understatedly. The movie is a Grisham in Le Carre clothing.
  14. A.C.O.D.
    A.C.O.D. is reasonably pleasant and therapeutic and antiseptic and you just wish somebody would bring a chandelier down on somebody else at some point.
  15. For Colored Girls
    He (Perry) has taken Shange's landmark poem cycle for seven African-American actresses, cut it up, and sewn its bloody entrails into a tawdry, masochistic soap opera that exponentially ups the "Precious" ante.
  16. They Will Kill You
    For all its bloodshed, the movie’s not sharp enough to land a cutting blow — or even to break skin.
  17. Hit and Run
    Hit and Run works less as a film and more as a likable, semi-documentary romp among friends. The illusion of the drama may be gone, but it's been replaced by something more authentic and adorable. And we might be okay with that.
  18. Freeheld
    Perhaps seeking not to sensationalize or to Hollywood-ize a story set in a drab, mundane world, Sollett shoots without any frills. That’s usually a good thing, but here it helps to suck the life out of the material — in part because Nyswaner’s screenplay seems to have settled for the most direct, speechifying way of dramatizing the issues at hand.
  19. Eat Pray Love
    In the golden turd that is Eat Pray Love, everyone helps Julia Roberts find herself so she can then experience true love.
    • 50 Metascore
    • 40 Critic Score
    Planet of the Apes
    Devoured by its own mechanical ostentation, generates no emotional involvement, and has a smart-ass, infinitely less powerful ending than the original.
  21. Constantine
    Reeves has confidently entered his self-parodic period. You’ll enjoy his wry post-Matrix murmurs and squinty stares.
  22. Jurassic World Rebirth
    Audiences may not have run out of enthusiasm for what the Jurassic Worlds are selling, or at least they haven’t yet, but the people tasked with making them sure are out of ideas.
  23. The Hunt
    The Hunt isn’t a total mishap, not with Gilpin being as good as she is and with Zobel’s gleeful aptitude for violence, but that’s what’s so exasperating about it. It has a habit of getting in its own way with trollish tendencies whenever it starts to build momentum.
  24. The Equalizer 2
    The film starts to feel like it’s more invested in selling the idea of the series rather than a film in and of itself.
  25. Life After Beth
    Life After Beth is a reasonably fun, medium-gory horror comedy that’s better before the innards hit the fan.
  26. Snow White
    That, in chasing something vaguely progressive and YA-inspired with Snow White, Disney has turned out a film with some hilariously timely choices is a great joke, though I wouldn’t call it an intentional one.
  27. Eurovision Song Contest: The Story of Fire Saga
    Eurovision gives us an inspired and hilarious match between subject and stars, all driven by melodrama: The glorious, over-the-top theatricality of the song contest makes an ideal stage for Ferrell’s brand of high-highs and low-lows.
  28. The Zero Theorem
    It starts off as a mess, yes, but eventually finds itself in a very poignant place. Even a lesser Terry Gilliam film is usually more engaging and invigorating than most of the other movies out there.
  29. How to Talk to Girls at Parties
    The script is frantically trying to build a whole world when a modest house would do.
  30. American Ultra
    American Ultra is undemanding late-summer studio fare — ultraforgettable. But I’ll remember the faces of Eisenberg and Stewart, who are easy to ridicule but, whatever the pundits say, very much movie stars.
Page:

Top Trailers

See all »
See all trailers »