New York Magazine (Vulture)'s Scores

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For 3,961 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: 2,220 out of 3961
  2. Mixed: 1,378 out of 3961
  3. Negative: 363 out of 3961
3961 movie reviews
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  1. C'mon C'mon
    The film finds a raw beauty in the wonders and heartbreaks of everyday life. It’s a humble portrait of a family’s deepening connections supported by a number of cinematic pleasures — expert sound design and cinematography; touching performances by Norman and Hoffman; and a tremendous showing from Joaquin Phoenix, operating at a register he’s rarely found before. It’s a career best for him — lovely, empathetic, humane.
  2. Her Smell
    Much of Her Smell, especially these backstage scenes, border on unintelligible, with numerous exchanges getting lost in the chaos. I found this to be incredibly, teeth-grindingly effective — this is a thoroughly subjective depiction of mental illness and substance abuse, and the accurate relay of information often takes a backseat in the throes of such a state.
  3. Paranoid Park
    Paranoid Park is a supernaturally perfect fusion of Van Sant’s current conceptual-art-project head-trip aesthetic and Blake Nelson’s finely tuned first-person “young adult” novel.
  4. Carlos
    Shot by shot, scene by scene, it's a fluid and enthralling piece of work. I wasn't bored for a millisecond.
  5. Bergman Island
    In its glimpse into the lives of partnered-up fictional directors, Bergman Island invites its viewer to guess how much it’s a reflection of Hansen-Løve’s actual relationship, while also acknowledging the gap between the art someone makes and the person they are.
  6. Eighth Grade
    Burnham made his name as a stand-up comedian, and if you can manage to look at Eighth Grade objectively — which isn’t easy, given the wallop it packs — you’ll see that it’s pretty slick.... But the slickness is dispelled whenever Elsie Fisher is onscreen, which is practically always.
  7. Toni Erdmann
    The German comedy Toni Erdmann makes the best case imaginable for the importance of tone.
  8. The Good Boss
    It’s a perfect role for Bardem, who has always exuded a kind of natural authority and calm. Every line reading is measured without feeling rehearsed. (He’s a great performer, but that wonderfully solid, anvil-shaped profile of his helps, too. Plus, he gets to indulge his fondness for ridiculous wigs again.)
  9. Whiplash
    As a go-for-it music movie, Whiplash is just about peerless. The fear is contagious, but so is the jazz vibe: When Andrew snatches up his sticks and the band launches into a standard—say, Hank Levy’s “Whiplash”—it’s hard not to smile, judder, and sway.
  10. The Wonderful Story of Henry Sugar
    The movie’s hectic (albeit very precise) swirl of dialogue creates a background against which the idea of slowing down and directing all your attention towards one thing feels like a genuine rebuke of the world. It’s a simple and obvious enough conceit, but Anderson and his cast have such fun with it that they render it fresh and original.
  11. The Look of Silence
    This small, grim documentary about Indonesia is actually a bigger and grimmer movie about all of us — our capacity for both breathtaking evil and, occasionally, profound bravery.
  12. Interview
    I’ve sat through so many claustrophobic examples of the genre I forgot how exhilarating, how pure a great one could be. Interview is a great one--electric as theater and cinema.
  13. Coriolanus
    Fiennes and Logan haven't made a definitive Coriolanus, but they've made a sensationally gripping one. They have the pulse of the play, its firm martial beats and its messy political clatter. They tell a damn good story.
  14. Transit
    It’s worth shaking off the incongruities and getting on the movie’s wavelength. Once Transit’s bitterly ironic vision takes hold, it eats into the mind.
  15. The Blue Caftan
    Maryam Touzani’s film is as precise and vivid as its titular garment.
  16. Nebraska
    The movie is a triumph of an especially satisfying kind. It arrives at a kind of gnarled grace that’s true to this sorry old man and the family he let down in so many ways.
  17. Inside Llewyn Davis
    Joel and Ethan Coen’s Inside Llewyn Davis is an exquisitely crafted tale of woe with heartfelt early-sixties folk music — and an overarching snottiness.
  18. Hustle
    Hustle works, and it works beautifully, thanks to Sandler’s commitment.
  19. Wake Up Dead Man: A Knives Out Mystery
    The franchise has always centered Blanc as the champion of the underserved, but in leaning away from his shenanigans and slapstick and making space for someone like Father Jud to illustrate the film’s worldview, Wake Up Dead Man shows how much it has on its mind.
  20. One in a Million
    Azzam and MacInnes give us a modern-day epic that traverses borders — truly, they’ve captured some incredible footage — but they outdo themselves by following that up with an absorbing, complex tale about the challenges of assimilation.
  21. Mad Max: Fury Road
    Mad Max: Fury Road is certainly a blast and a half: You don’t just watch it, you rock out to it.
    • 85 Metascore
    • 90 Critic Score
    Evangelion: 3.0+1.0 Thrice Upon a Time
    The cumulative result of all this inventive intercutting is a nostalgic reminder of everything that makes Evangelion not just psychologically complex, but balls-to-the-wall fun. It recognizes that Evangelion is both a cerebral meta-narrative and a mecha action anime.
  23. Saloum
    The people who maintain the status quo are those with power, and those with power are often unwilling to share: with those who are weaker, with those who are younger, with those who are other. The propulsive energy of the film is driven both by that injustice and by the scars it leaves on places and on people, and so the horror, the horror, of Saloum is both timeless and timely.
  24. Domestic Violence
    Wiseman lets the material breathe in a manner unique to the subject.
  25. At Eternity's Gate
    I’m not a fan of Schnabel’s paintings, but I think he’s a born film painter, and even if At Eternity’s Gate doesn’t reliably cross the blood-brain barrier, his frames are like no one else’s. (His cinematographer is Benoît Delhomme.)
  26. Bottoms
    If anything, I wanted Bottoms to be even more anarchic. . . As is, it’s still a great — and audacious — time.
  27. Rize
    Stunning, explosively moving.
  28. Hard Truths
    Even at their bleakest, Leigh’s pictures and his people explode with life. Some filmmakers make movies that feel like you could use them to reconstitute cinema if the art form ever vanished. Mike Leigh makes movies that feel like you could use them to reconstitute humanity if we ever vanished.
  29. The Vast of Night
    It’s an homage to radio dramas, maybe, but also works as a reminder that while film is a visual medium, sometimes sound can be enough to sustain you. It’s a sound, after all, that opens up the cloistered world that Everett and Fay are living in, exposing them to something terrible and awe-inspiring and new.
  30. How I Killed My Father
    Michel Bouquet's performance makes Anne Fontaine's How I Killed My Father required viewing.
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