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. The Wild Robot
    With The Wild Robot, Sanders has found another way to create a visual dissonance that almost subconsciously insinuates its way into our brains and feeds the central idea of the film. And it’s hypnotic.
  2. Half Nelson
    Downbeat as it is, Half Nelson is a genuinely inspirational film--a terrifically compelling character study and a tricky exploration of the links (and busted links) between the personal and the political.
  3. Vincere
    The movie, a near-masterpiece, is a monument to intoxication: of sexual conquest, of military conquest, and, most of all, of cinema.
  4. Domestic Violence
    Wiseman lets the material breathe in a manner unique to the subject.
  5. Love and Diane
    Harrowingly straightforward.
  6. About Schmidt
    It’s the difference between artistry and knowingness. About Schmidt doesn’t bring us deeply into the lives of its people because it’s too busy trying to feel superior to them.
  7. Hero
    So deliriously chockablock with high-flying, color-coordinated fight scenes that non-aficionados may find it all a bit bewildering--a gorgeous abstraction. It sure is gorgeous, though, and it has a dream cast
  8. The Taste of Things
    Perhaps most importantly, The Taste of Things offers a perfect match between Hung’s artistic impulses and his subject matter.
  9. Neil Young: Heart of Gold
    Demme is in such perfect sync with Young's music that even the painted prairie backdrop (and the painted farmhouse interior screen, complete with hearth, that slides in front of it) only makes you roll your eyes in retrospect.
  10. Mudbound
    Mudbound could have easily turned out as a kind of dusty, respectable period drama that looks important while advancing nothing, but it exceeds expectations with every new layer.
  11. My Life as a Zucchini
    My Life As a Zucchini is a deft work of empathy, and unlike a few of its fellow animation Oscar contenders, it works on a more intimate scale, without a big message or master thesis to carry it to its conclusion.
  12. Holy Motors
    Holy Motors is typically confounding but on every level that matters a work of unfettered - and liberating - imagination.
  13. The Dark Knight
    The novelty wears off and the lack of imagination, visual and otherwise, turns into a drag. The Dark Knight is noisy, jumbled, and sadistic.
  14. Everybody Wants Some!!
    If you’ve seen Linklater’s other films, you know that time for him isn’t just a factor, it’s a character, a player.
  15. Two Prosecutors
    What distinguishes Two Prosecutors is not its overall narrative trajectory (which reads more like a bitter cosmic joke than anything else) but rather how Loznitsa subtly colors in Kornyev’s journey through the halls of power.
  16. The Past
    It’s absorbing for a long while, at least half its two-hour running time — an evocatively photographed soap opera with actors who are impossibly gorgeous and yet human-looking — but it goes on and on, piling on twists, adding devices so clunky they’d have embarrassed most nineteenth-century problem-dramatists, refusing to jell despite the actors’ prodigious suffering.
  17. Pillion
    A film that is, chain collars and ass-eating aside, surprisingly mild at its core — or, at least, it ends up positioning dominance and submission in counterpoint to emotional intimacy in a way that echoes E.L. James more than you might expect.
  18. Black Bag
    Black Bag is a tremendous example that a film need not be making an explicit political point or obsessed with the political dimensions of its narrative to be worthwhile cinema. A work can rise to this present moment by offering us rapture. This, too, is what movies are meant to accomplish.
  19. One Child Nation
    It’s a devastating film, almost too terrible to contemplate.
  20. 24 Hour Party People
    One of the sharpest and funniest movies about the music business ever made.
  21. 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.
  22. Atonement
    Atonement works reasonably well as a tragic romance, but that sting is dulled. As a book, it was a blow to the head; as a movie, it’s an adaptation of a book.
  23. The Tree of Life
    After warming up with "The Thin Red Line" and "The New World," Malick has succeeded in fully creating his own film syntax, his own temporal reality, and lo, it is … kind of goofy. But riveting.
  24. Daughters
    The accrual of human detail pays off masterfully when we get to the dance itself — especially when the girls see their fathers for the first time.
  25. The Fabelmans
    The most interesting parts of this baggy, inevitably indulgent, and often spectacular work find him grappling with the idea of putting himself onscreen versus adapting part of his life into the stuff of a movie.
  26. 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.
  27. The Host
    The Host packs a lot into its two tumultuous hours: lyrically disgusting special effects, hair-raising chases, outlandish political satire, and best of all, a dysfunctional-family psychodrama--an odyssey that's like a grisly reworking of "Little Miss Sunshine."
  28. Restrepo
    The film is a nearly unrelenting nightmare. Even interviews shot with the survivors after the fact have a current of dread.
  29. Won't You Be My Neighbor?
    A wonderful breather from reality, from which you come back more conscious of — and dismayed by — the hate that more than ever runs the world.
  30. Passing Strange
    The cutting is hyperkinetic, yet Lee is always in synch with the cast’s phenomenal energy. He’s in their thrall--and so are we.
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