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. Taken 2
    The screenwriters go out of their way to prepare you for Taken 3: Serbedzija has more sons, and Kim's virginity is getting harder and harder to preserve.
  2. Total Recall (2012)
    There isn't anything in this Total Recall to match the immortal Arnold Schwarzenegger send-offs, "See you at the pah-ty" and everyone's favorite alimony killer, "Consider this a divorce."
  3. The Identical
    It's stocked with clichés, but they're arranged in such weird ways that the end result is both predictable and certifiable. If only any of it actually went somewhere.
  4. In the Grey
    In his latest, In the Grey, Ritchie takes this compulsive, hyperanalytical love of preparation to comical levels. Intentionally, but maybe not productively: As the screen fills up with lists and the narrative overloads on data, we may find our attention drifting.
  5. Ghostbusters
    The new Ghostbusters isn’t a horror, exactly. It’s just misbegotten. It never lives.
  6. 360
    How odd then that a film all about human connections manages to make none of its own.
  7. The Moment
    The Moment, directed by music-video wunderkind Aidan Zamiri, feels like a half-hearted hybrid of a real concert doc and a This Is Spinal Tap-like satire. It’s a little too afraid to go too far in either direction, and the end result is pure brand management.
  8. Gladiator II
    The thrill of the action sequences just underscores the hollowness of the rest of the enterprise. Sure, not all of us spend a lot of time thinking about the Roman Empire, but those who do deserve better than this.
  9. Kong: Skull Island
    Its combination of lavishness and lack of imagination is the only thing memorable about it.
  10. Full Frontal
    Has its fun moments, and the dialogue, some of which was surely improvised, has a natural flow. But Soderbergh suffocates everything with stylistics. Soderbergh is exploring his navel.
  11. The Pink Panther
    Steve Martin can be a delightfully spasmodic clown, but his Clouseau makes no sense.
  12. The Man Who Killed Don Quixote
    The experience of watching it, especially given its dreamlike unreality and head-scratching punnery (this is a deeply unfunny movie) is like listening to a doddering old man for whom every story — about art, politics, local goings on — ends up being about how every woman is an evil witch that can’t be trusted.
  13. Fatman
    There’s nothing wrong with subtle or contextual humor, of course, but here, frankly, it feels like a waste of a pretty great concept.
  14. Trash
    A misguided attempt to mix together social realism, children’s adventure, and political thriller, Stephen Daldry’s Trash never sits still long enough to be any of those things.
  15. The Old Guard 2
    There’s a debilitating cheapness that keeps this picture from reaching its true potential. I have no idea what the budget was — for all I know, it could have been bigger than the original film’s — but it feels at times like we’re watching a mock-up of what a movie called The Old Guard 2 might look like.
  16. A Fantastic Woman
    I just wish Vega and Lelio let us in a little more to see her as an individual, aside from the hostility she encounters.
  17. Absolutely Fabulous: The Movie
    It’s as if the film is taking after its own heroines: aspiring to something bigger than it should, and too often looking awkward in the process.
  18. Trumbo
    Trumbo is a film that at times can’t seem to decide what it wants to be. At its worst, it’s musty and awkward; at its best, it’s irreverent and funny. Unfortunately, it settles for the former more than the latter.
  19. Cake
    Actually, the whole movie is grim — drearily so.
  20. Get Hard
    The real problem is that Get Hard’s very idea of edge is itself pretty stale. It feels like a bunch of off-color jokes the filmmakers have been trying to tell for years, and they’ve crammed them all into one film — with tiresome results.
  21. Alex & Emma
    Life imitates art, except there’s precious little of either here.
  22. Pineapple Express
    It's empty and formulaic, with plotting that's lazy even by stoner-comedy standards. Without all the yuck-o sight gags, it would be a huge bummer.
  23. Strange Magic
    The problem with Strange Magic isn’t so much its derivative story as it is the odd, half-complete way it unfolds. You can sense the weird mixture of tones, influences, ideas — as if the whole thing were still in its planning stages.
  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. Oxygen
    Aja knows what sort of product he is turning out and does it ably, if without much excitement, as though understanding he is filling a hole in a lineup. It’s actually Laurent, who is too classy to be here, who doesn’t entirely grasp the assignment. She keeps overreaching, giving her cutout character shows of realistic emotion that the film she is appearing in can’t support.
  26. The Voices
    This film really doesn’t know what to do with itself, except to show us the difference between Jerry’s happy world and his dark world as if it’s some kind of revelation; it’s the one move the film has, and it does it over and over again.
  27. Trolls World Tour
    Trolls World Tour is ruthlessly simple, rushed, and obvious.
  28. The Black Dahlia
    It's a stilted thing--overstylized and inexpressive, like high-school kids playing dress-up, or bad Kabuki.
  29. The 355
    The 355 was directed by X-Men: Dark Phoenix’s Simon Kinberg, who wrote the script with Smash creator Theresa Rebeck, and he’s genuinely terrible with fight sequences, which is a real issue in a movie that has a lot of them.
  30. TRON: Ares
    Mostly, when you watch Tron: Ares, you become aware of the degree to which this franchise has exhausted its own metaphor.
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