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 Importance of Being Earnest
    Parker "opens up" a play that was perfectly wonderful closed down. Wilde subtitled his masterpiece "A Trivial Comedy for Serious People." This movie seems intent on being a trivial comedy for trivial people.
  2. The Magnificent Seven
    The Magnificent Seven has the trappings of a classic Western and it hits its marks. All of Fuqua’s movies hit their marks — even sadistic formula junk like "The Equalizer." But there’s no grandeur in its images or generosity in its soul. I don’t think Fuqua ever loved Westerns. And by the time this movie ended, I’d forgotten why I do.
  3. Rambo: Last Blood
    Quick as it is, though, you have time to wonder how these Mexican assassins can watch their comrades getting skewered, dismembered, and eviscerated by Rambo’s traps and not think, Maybe we should pull out and rethink this assault.
  4. Son of Saul
    The movie doesn’t expand in your mind — it shrinks along with its protagonist, its conclusion a reductio ad absurdum.
  5. Paranormal Activity 4
    But the real problem behind Paranormal Activity 4 is that its entire raison d'être has gotten old; producer Oren Peli, who directed the first one, even included some gentle digs at the found-footage genre in his superior "Chernobyl Diaries," released earlier this year.
  6. Live From New York!
    It’s too cursory, too frivolous to make a case for the show’s importance as an American institution, even though it insists on it.
  7. Thor: Love and Thunder
    Waititi hasn’t always been the most precise at mixing pathos and humor (Hunt for the Wilderpeople, yes, Jojo Rabbit, no), and the calibrations in Love and Thunder are all off.
  8. The Lords of Salem
    The Lords of Salem is gloomy, lacks variety, and is not without its flat patches. Heidi is an increasingly dullish heroine, and in the first 15 minutes you’ll know what’s going to happen in the next 80.
  9. Inferno
    Tom Hanks takes his art down a peg with another paycheck performance as the dramatic cipher Robert Langdon in Inferno, Ron Howard’s mostly lame adaptation of Dan Brown’s wholly lame novel.
  10. W.
    W. isn't gripping enough as drama or witty enough as satire. It's neutered.
  11. Along Came a Spider
    There's not much here for a great actor to sink his teeth into once, let alone twice.
  12. Calvary
    Those shots are in contrast to those landscapes, which are craggy, primordial. It’s meant to be a haunting combination, and I have colleagues who’ve found it just that, who came out of the movie ashen, devastated. But I found it bludgeoning — I think it gives new meaning to the phrase hammer of God.
  13. Sonic the Hedgehog 2
    It’s a lot more like the movie we were worried the first one was going to be: baggy, bloated, and only sporadically engaging.
  14. Tammy
    I hesitate to label the result as bad or good. It’s just … off.
  15. Vox Lux
    As a story of popular art born in the crucible of violent trauma, it’s a fantastic, wildly ambitious idea; as a filmed drama with human characters, it’s confoundingly executed at every turn. Vox Lux is a failure, but one I can’t stop thinking about.
    • 68 Metascore
    • 40 Critic Score
    The Sterile Cuckoo
    There is all too little here to interest an adult, let alone any veteran of the nutty-girl vs. stodgy-boy chiche. [27 Oct 1969, p.68]
    • New York Magazine (Vulture)
  17. The Alto Knights
    The Alto Knights is a movie whose ambition has passed. It feels like the husk of something that might have been great once.
  18. Batman v Superman: Dawn of Justice
    There’s enough going on to keep you watching — and, as I said, to keep fanboys wowed by the scale of the production and pretension. But most people will leave feeling drained and depressed, wondering how a studio can get away with withholding so much.
  19. Oblivion
    Oblivion is like that movie-within-a-movie: Everything in it feels 100 percent inauthentic. That vibe, as it happens, turns out to be intentional. But when the humans arrive, it’s still a narcotic.
  20. Bride of the Wind
    Beresford, can't bring this saga to life because Alma herself never fully comes to life; her contradictoriness, like the way she embraces Mahler only to rail against his "Jewish music," doesn't add up to a whole and complex human being.
  21. Salinger
    The fact that the movie’s focus is how and why he renounced the world, moved to Cornish, New Hampshire, and stopped publishing makes it worse, somehow. Salerno probably didn’t mean it this way, but he gives you the impression he came to mock his subject: We’ve got you now, you antisocial bastard.
  22. The Pope's Exorcist
    It allows Crowe to have fun with the part of Father Amorth, but the film forgets to have fun along with him.
  23. Renfield
    Hoult, playing a pallid, anxious, disconcertingly dreamy Renfield, and Cage, fully Cageing it up as the count, manage to be compelling even when vamping (sorry) with all their might to make this material work.
  24. In the Cut
    Campion is dabbling in several different types of movie here: police procedural, film noir, romantic melodrama, sex fantasia. None really succeeds.
  25. All the King's Men
    As Willie Stark, Sean Penn demonstrates how a great Method actor can make the world’s most unconvincing rabble-rouser.
  26. The Dead Don't Die
    It’s painful to report that Jarmusch’s deadpan is in the rigor mortis stage in The Dead Don’t Die. His own creative ferment isn’t happening this time — the acid cynicism has killed the yeast — and the actors seem unsure whether to commit to the material when their director plainly hasn’t.
  27. The Monkey
    The problem is that The Monkey has a hole at its center. It isn’t comedic enough to distract from the fact that the film traffics in rote archetypes, and it doesn’t quite pluck the heartstrings of its audience over the ragged inheritance from fathers to their sons either.
  28. The Wolf of Wall Street
    A veritable orgy of immorality, each scene making the same point only more and more outrageously, the action edited with Scorsese's usual manic exuberance but to oh-so-monotonous effect.
  29. Men in Black: International
    It’s not that this new movie has forgotten the fleet-footed charm of the original MIB films; it’s just that it doesn’t quite know how to conjure it again, so it confuses levity with listlessness.
    • 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.
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