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. Precious: Based on the Novel 'Push' by Sapphire
    The elements of Precious are powerful and shocking, but the movie is programmed. It is its own study guide.
  2. Colombiana
    Luc Besson's Jumping Frog Action Factory looks mighty lame in Colombiana.
  3. Laws of Attraction
    It’s tough to be Tracy and Hepburn, let alone Doris Day and Rock Hudson, when you're trying to get your mouth around lines that wouldn't pass muster on a UPN sitcom.
  4. The Devil All the Time
    The Devil All the Time is an antiseptic slog, too streamlined to make us care and too literal-minded to pull us in. We never really get to know any of these characters aside from their villainy and/or victimhood. They’re paper fish in a cardboard barrel.
  5. Project Power
    The trouble with trying to push at the boundaries of the superhero genre isn’t that we’re out of material, it’s that imaginations are so limited that a film that starts with a twist on a familiar premise nevertheless loops around to a standard showdown involving an incoherent blur of computer generated effects.
  6. The Watchers
    Not every figure in films like this one needs to be rendered with full psychological complexity, but when a horror movie rushes past a promising start in order to wallow in clichés, it feels as though it’s squandering a premise.
  7. Zombieland: Double Tap
    The sequel is a string of callbacks and remember-this moments that ask an awful lot of something whose charms and cultural impact were modest at best — a feature-length effort at congratulating the audience for having shown up for the original film a decade ago.
  8. On Chesil Beach
    Unfortunately McEwan, adapting his own work, and first-time director Dominic Cooke, have a hard time rendering the touchy, interior subject matter cinematic; a potentially promising story of an emotional and physical impasse is flattened so much as to be offensive.
  9. Zack and Miri Make a Porno
    It's written and directed by Kevin Smith--and hats off to him for being savvy enough to go for a piece of the Apatow action! Too bad he doesn't rise to the occasion.
  10. The Eyes of Tammy Faye
    The Eyes of Tammy Faye, which was written by Abe Sylvia, is unable to decide if it wants to understand its subject or make fun of her, and ends up never really committing to either.
  11. Him
    Him impresses as a stylistic exercise, a gonzo spectacle of macho phantasmagoria, but it’s hollow inside.
  12. A Million Ways to Die in the West
    Some of the gags do land — maybe one in four. But the genre-parody genre with big stars and poop jokes needs a little more class than MacFarlane is capable of providing.
  13. Me and Earl and the Dying Girl
    The climactic interaction between Rachel and the film that Greg has made for her is so ecstatically weird that it gets points for its audacity. It’s almost inspired. But the coda — an ode to Greg’s self-sacrifice — is unforgivable, a testament to the ego - and power-trip that is the movie’s ultimate reason for being.
  14. Lions for Lambs
    Robert Redford’s Lions for Lambs is the clunkiest, windiest, and roughest of the lot. Most of it is dead on the screen. But its earnestness is so naked that it exerts a strange pull. You have to admire a director who works so diligently to help us rise above all the bad karma.
  15. Baby Invasion
    Baby Invasion in a theater is akin to watching someone play a video game in the middle of a rave being thrown on a truck driven at high speed down winding streets. If anything, it’d be weird not to end up nauseated.
  16. The Hobbit: The Battle of the Five Armies
    The Hobbit: The Battle of the Five Armies feels thoroughly inconsequential — a bloated, portentous mess that, in a just world, should not exist.
  17. Borstal Boy
    For all its triteness, Sheridan's sentimentality has its poignancy: This adolescent boy is all set up to live out a halcyon life he'll never have.
  18. Daddy's Home
    Ferrell and Wahlberg previously paired up in "The Other Guys", one of the great comedies of the millennium, but put aside any expectation that their latest collaboration might even come close to that sublime masterpiece.
  19. Mamma Mia!
    Seyfried (of Big Love and Mean Girls) is a radiant object and can sing, but I'd like to forget the others--especially Brosnan, whose singing is the best imitation I've heard of a water buffalo.
  20. The Art of Self-Defense
    The only surprise is the level of violence — not just beyond "The Karate Kid" but beyond "Fight Club." The problem with that strategy is that unless you’re knocked out, you’re just grossed out and eager to go. You practice the art of self-defense against the movie.
  21. Sierra Burgess Is a Loser
    From the script to the music to the unfinished-feeling sound edit — nothing about Sierra Burgess feels like it got past a first draft.
  22. Chaos Walking
    Chaos Walking retains a tiny bit of its comic spirit, but one does get the sense that maybe, in some distant rough cut or interim screenplay draft, it was a much funnier, more engaging picture. Instead, what we now have is a movie that seems determined to run away from itself.
  23. Halloween Kills
    You have to admire the effort — even as you survey, mouth agape, the calamitous results.
  24. Superman Returns
    The bigger problem is that Singer’s weighty rhythms are disastrous for Superman, and the movie actually gets heavier in its last half-hour.
  25. Leave the World Behind
    Unfortunately, the film doesn’t demonstrate any kind of interest in, or affection for, its characters. They’re cardboard cutouts, there to represent postures rather than evoke our sympathy or humanity or even curiosity.
  26. Away We Go
    Travel--finding the self by escaping the self--is central to the novels of Eggers and Vida, but Mendes knows where he's going before he gets there. And so the subject of Away We Go turns out to be not travel but child-rearing, which is at best well-meaning and anguished and at worst downright monstrous.
  27. The Darkest Minds
    The Darkest Minds is just too foggy to make out much of anything in.
  28. Ghostbusters: Frozen Empire
    The jokes are witless, the emotions artless, and the film joyless. At the same time, there’s also little to repel or offend, which, after all the truly idiotic culture-war battles fought over the Ghostbusters franchise, probably counts as a win. Maybe one day we’ll get an actual movie.
  29. Lila & Eve
    Lila & Eve is an awkward movie, though sometimes by design.
  30. Nightcrawler
    After a few minutes you know everything about Louis you’re going to know; the only surprise in Nightcrawler is the level of grotesqueness it achieves. There’s more insight (and entertainment) in an average sketch from the old SCTV series; I kept imagining Joe Flaherty’s horror host Count Floyd climbing out of his coffin and chanting, “Oooh, that Louis, he’s veh-ry skerrrr-y, kiddies — ahwoooooooo!”
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