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. Heartbreakers
    What is the great Gene Hackman doing in the dingbat con-artist comedy Heartbreakers.
  2. 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.
  3. AGGRO DR1FT
    Eventually, the oppressive sameness of everything becomes stultifying — which to me feels like a death blow for something so self-consciously experimental and wannabe visionary.
  4. Jack Reacher: Never Go Back
    The movie is lighter, more fun, and ultimately more satisfying than its weighty predecessor.
  5. Monster Hunter
    There’s something truly electric about the pure, visual storytelling of Monster Hunter.
  6. Pushing Tin
    Barely rates faint praise.
  7. Choke
    Sam Rockwell strips himself down to pure appetite and has a buoyant spirit. But the film sure doesn't. It's bizarrely flat--it has no affect.
  8. Lisa Frankenstein
    Lisa Frankenstein just doesn’t seem all that interested in what its main character is going through, which leaves it feeling lamentably flimsy, just a collection of references assembled around a hollow center.
  9. Halloween Ends
    Green, despite having co-written and directed all of the entries in this most recent crop of Halloween sequels, isn’t really a horror guy. He doesn’t seem to have the precision and rhythm required to truly shock us. Luckily, with Halloween Ends, he’s found a way to make one of these movies his own, sans scares but with tons of atmosphere and a sense of queasy, gathering dread.
  10. Wish
    Unfortunately, Wish manages to be none of the things it wants to be. It is neither evocative enough of the past to work as a tribute, nor irreverent or inventive or just plain funny enough to justify its constant but half-hearted callouts. It’s the ultimate cop-out — a lifeless, uninspiring mess of bland brand management.
  11. Asphalt City
    There’s style and skill to spare in Asphalt City, but the movie also feels like a victim of the very numbness and emotional emptiness it seeks to expose.
  12. Where the Truth Lies
    The time shifts are awkward, and Egoyan displays little of the deftness of characterization he evinced in such movies as "Exotica" (1994) and "The Sweet Hereafter" (1997); the result is a cold scold of a movie.
  13. The Hitman's Bodyguard
    The whole film feels slightly grubby and low-res, like it’s been languishing in private mode on the filmmakers’ pre-HD YouTube page since 2008.
  14. Poltergeist
    If you’re going to remake Poltergeist without the whole TV angle, "Insidious" already kind of did that. To be fair, this new Poltergeist isn’t anything special, either. But it’s not a travesty, and that feels like cause for brief celebration.
  15. The Day After Tomorrow
    The catastrophe is so pulped and exaggerated that uninformed audiences will safely assume that global warming is just a Democratic scare tactic.
  16. Hercules
    Hercules has no right to be as entertaining as it is.
  17. Bird Box Barcelona
    Writer-directors Àlex and David Pastor have come up with a tantalizingly evil idea, but they’re not cruel enough to see it through to its conclusion.
  18. Irresistible
    Irresistible isn’t just shockingly ineffectual in its insights into national schisms — it is, in an added betrayal, unfunny, requiring its audience to slog their way through so much laborious farce without a laugh in sight.
  19. Shock and Awe
    The problem isn’t Reiner taking dramatic liberties with the facts, it’s that his toolbox for doing so hasn’t changed since the mid-’90s.
  20. The Time Traveler's Wife
    Gracefully directed by Robert Schwentke, the film has a perfect performance by Bana, rangy and haunted, never at home in his body.
  21. Project Almanac
    On the whole, this is a good B-movie that hits it modest marks.
  22. 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.
  23. Silver City
    Using Dickie Pilager as a stand-in for George W. Bush seems too coy a tactic for these scabrous times. For better or worse, we want the real--or at least, the "real"-deal.
  24. Godzilla x Kong: The New Empire
    The kaiju of Godzilla x Kong: The New Empire don’t stand for anything but themselves. They’re just giant monsters that occasionally fight one another, which would be forgivable if the fighting in the movie weren’t so torpid.
  25. Heaven Is for Real
    I doubt many things — almost everything, to be frank — but I have no doubt that my Heaven Is for Real audience slept better that night. Whatever works.
  26. The Giver
    You wind up with a movie that plays like a low-rent "Logan’s Run" crossed with a UNICEF commercial.
  27. 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.
  28. Hotel Transylvania
    The pleasantly disposable animated flick Hotel Transylvania, which gathers all the monsters in the world under one roof, is better than it should be, if not quite as good as it could be.
  29. Rock of Ages
    Rock of Ages withholds nothing and makes miracles seem cheap.
  30. Gunpowder Milkshake
    The film’s humorlessness is off-putting; it is slick to the point of lacking texture. But the underlying problem is more fundamental. Gunpowder Milkshake is led by someone without the star power to carry it, surrounded as she might be by actresses far more interesting.
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