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. 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.
  2. Funny People
    Sandler isn't afraid of plumbing his dark side, but Apatow fails him: Scenes of George's self-pity drag on too long, and as the character loses stature, Sandler recedes from his own vehicle. Rogen doesn't fill the vacuum.
  3. Windtalkers
    Cage is the only reason to check out an otherwise mediocre movie.
  4. The Place Beyond the Pines
    The segments are essentially monodramas, so sketchily written that the big moments feel less like recognizable human behavior than recognizable screenwriter overreaching.
  5. Infinitely Polar Bear
    Infinitely Polar Bear is a good example of how a film that looks on paper like a mess of indie clichés can be redeemed by fantastic performances … even if, ultimately, it remains a mess of indie clichés.
  6. Last Vegas
    We know where it’s going, and it doesn’t take long to get there. There are some good jokes along the way, a few of them blandly off-color.
  7. The Rocker
    It's depressing when the best thing you can say about a comedy is that its second-rateness is pleasantly in sync with its unmagnetic hero.
  8. Good Deeds
    Watching the impossibly dry and somnambulant Good Deeds, you actually miss that crazy side of Perry. It's sort of ironic: Here's a film about a guy who's being false to his true self, and you realize the director might be doing the same.
  9. The LEGO Ninjago Movie
    There’s no there there, and the film never seems to know what it’s playing with besides the idea of movies in general.
  10. Jessabelle
    It’s a strange spectacle: a horror film that spends as much time dismantling suspense as it does building it.
  11. Legally Blonde 2: Red, White & Blonde
    I realize Legally Blonde 2 was not intended as scathing political satire, but I wish someone out there in movieland did indeed have just such an intention these days.
  12. The Good German
    Steven Soderbergh is usually an inspired chameleon, perfectly suiting his style to his content. But The Good German is an ambitious miss...It's all very beautiful, high-minded, and remote.
  13. Joshua
    The line between eeriness and tedium is fatally fluid.
  14. Capturing the Friedmans
    Jarecki shows off this footage as evidence of a truly dysfunctional family in various stages of denial. What it reveals at least as much is the modern phenomenon of reality-TV self-exposure carried to such lengths that, by comparison, the Osbournes look like the Cleavers.
  15. 300: Rise of an Empire
    The best thing about the new 300: Rise of an Empire is that Zack Snyder didn’t direct it. And the worst thing about it is that Zack Snyder didn’t direct it.
  16. Rabbit Trap
    Director Chaney clearly has a lot of skill and talent. But for all of Rabbit Trap’s technical accomplishments, it’s very hard to be frightened or moved by something that never stops feeling like an exercise in style.
  17. Kumiko, The Treasure Hunter
    Directed by David Zellner from a script he wrote with his brother, Nathan, the film has its tender mercies, as well-meaning Minnesotans attempt to reach out to this preoccupied Japanese woman with almost no English.
  18. Hotel Transylvania: Transformania
    While there aren’t any genuine belly laughs in the new movie, there are plenty of modestly likable, chucklesome ones. That ain’t nothing in this terrible, terrible world.
  19. Scream
    This new Scream is so determined to be a Scream movie that it forgets the primary, unstated rule established by the original Scream: You can sell anything to us, so long as you make it scary.
  20. Peter Pan & Wendy
    The problem with Peter Pan & Wendy is all too often one of subtraction, not reinvention. You can almost read the tsk-tsking studio notes as you watch the movie.
  21. Dog
    Dog feels like it should have been bigger and braver, but by the end, it also feels as if it could have been improved by being much smaller, closing in until it was just a guy and a dog and some of the country’s most beautiful scenery. What else do you really need?
  22. The Equalizer
    There’s a special kind of hell for artists who array vigilante revenge-porn in saintly garb, and Denzel Washington and director Antoine Fuqua should go to the front of that damnable line after The Equalizer.
  23. The Beaver
    Gibson is better in the later scenes, when Walter tries to escape the Beaver's nefarious influence. And Gibson's never bad. It's just that we know how much is missing. As a raging nutcase, he's capable of so much more.
  24. Bush's Brain
    I’m not sure that depicting Rove as a demonic Wizard of Oz does much more than stir righteous indignation among the already indignant. A more pertinent and challenging mission would have been to show just how the public can be gulled by Rove's dirty tricks in the same ways again and again.
  25. House of Gucci
    Gaga is wildly watchable in the role, broad but unwinking, an absolute scream, and the movie only really makes sense when it’s about her.
  26. 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.
  27. Camp
    Art as a passport to healing may be what audiences are craving these days, but the poultice provided by this movie couldn't cover a paper cut.
  28. Ready or Not 2: Here I Come
    Ready or Not 2 moves at a decent clip and is generally entertaining, but there’s something deflatingly lazy about its slate of rich assholes, which is heavy on standard-issue entitled daughters and smug failsons who treat the staff like props.
  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. Sylvia
    The problem with Christine Jeffs’s Sylvia, as with most movies about deeply troubled artists, is that for the most part we are seeing the troubles and not the artist.
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