New York Magazine (Vulture)'s Scores

Select another publication »
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
view
per page
  1. Ma Rainey's Black Bottom
    Ma Rainey postures toward being an actor’s showcase, but its storytelling — and its actorly pitfalls — prohibit that from being the reality.
  2. Hannibal Rising
    Hannibal Rising is basically a Steven Seagal vigilante movie with a hero who eats the people he kills. At least it's ecofriendly.
  3. Onward
    This film feels like a pile of prefab story ideas occasionally enlivened by brief flashes of earnestness and invention.
  4. Enigma
    Stoppard and his director, Michael Apted, must be aware of how dry their film is, because periodically they work in little thriller divertimenti -- car chases and such -- that only serve to point up how un-thrilling everything is.
  5. The Camden 28
    The Camden 28 is slapdash: more talking heads, reunion footage with the mother reading from her own testimony, newscasts of the day. But the editing supplies some urgency, and the subjects remain radiant yet down-to-earth--too good-humored to be beatific.
  6. Cloud Atlas
    The cast comes off like a third-rate stock company on the matinee after the night on which everyone got bombed on mescal (and possibly mescaline).
  7. The Prodigy
    Nicholas McCarthy, the director of the new bad-seed movie, The Prodigy, works in a low key that still somehow scrapes your nerves, so when the nasty stuff arrives, you realize (too late!) that you’ve been softened up for the kill. The film is cruelly well-made.
  8. Rage
    The movie is imprisoned by its Cage’s stiffness. All he gives us is strained, robotic seriousness. I’m not sure he even gives us any rage.
  9. Heist
    Mamet is so in love with the con that he's conned himself.
  10. The Dilemma
    Perhaps the late Blake Edwards could have found a balance between slapstick and psychodrama, but Ron Howard can't get the pacing right, and Allan Loeb's script is even wordier than the one he wrote for "Wall Street: Money Never Sleeps."
  11. Men, Women & Children
    The real problem is that the film doesn't know what to do with its depiction of life in the interconnected age. It’s a nothing movie.
  12. Mary Shelley
    This is clearly all fantastic material for a film, but the problems begin with the woeful miscasting of Elle Fanning as the title character, and continue from there.
  13. Lilo & Stitch
    What was once a lazy, crazy, charming afternoon daydream of a movie is now a frantic, insistent, often unfunny sci-fi comedy. It might distract young children with its hyper, family-forward story line, but most of the magic has vanished.
  14. Abraham Lincoln: Vampire Hunter
    Unfortunately, there's also a certain artificiality to the whole film, both visually and narratively.
  15. Moulin Rouge!
    It's like being trapped inside a fever dream of Oscar-night production numbers.
  16. What Men Want
    What Men Want is a wildly uneven stretch of a movie that’s more of a flail than a romp.
  17. Bad Boys II
    Resembles a full-length promo for itself. The action, virtually nonstop, is a series of can-you-top-this? set pieces.
  18. The Forgiven
    It’s too gutless to actually untangle the web of selfishness, Islamophobia, and privilege it weaves around its protagonists.
  19. Dark Shadows
    The screenplay by Seth Grahame-Smith is witless and meandering, though the witlessness wouldn't matter so much if it moved, or the meandering if it were droll.
  20. Hart's War
    A movie like Hart's War, for all its realistic trappings, is essentially escapism. And yet it inadvertently pushes the 9/11 button. The real world is going to intrude a lot this year at the movies. Better get used to it.
  21. A Glimpse Inside the Mind of Charles Swan III
    As the film progresses, the actor fails to progress with it: As Charles Swan seems to become more aware of his loneliness, Charlie Sheen seems to become more protective of his Charlie Sheen–ness.
  22. Mona Lisa Smile
    Director Mike Newell and screenwriters Lawrence Konner and Mark Rosenthal should have uncorseted their own imaginations. The girls on display are all tightly stereotyped.
  23. Unhinged
    For a movie marking a week in which theaters are reopening, Unhinged feels a lot like a movie that would be best caught on cable someday.
  24. The Woman in the Window
    There is something endearing about watching a high-end cast and crew treat this material with such seriousness, even if they all seem to have missed the point. Sometimes schlock is just schlock, and it’s better off treated that way.
  25. After the Wedding
    None of the characters has a true home. Comedies end with weddings, with order replacing chaos, but After the Wedding is not a comedy and weddings don’t fool anyone.
  26. Cowboys & Aliens
    An agreeable time-killer, but I'll bet a couple of clever kids could make a livelier movie with a Woody puppet and a Predator doll.
  27. A Big Bold Beautiful Journey
    To give A Big Bold Beautiful Journey credit, it is a democratically even-handed waste of talent.
  28. Wall Street: Money Never Sleeps
    The sequel to an influential eighties motion picture is so loaded with characters and crosscurrents that we wonder why it isn't a thirteen-hour cable mini-series instead of an impacted two-hour mess. The film is like my portfolio: full of promise, with minuscule returns.
  29. G.I. Joe: Retaliation
    That G.I. Joe silliness the first film embraced has been steamrolled into tentpole flatness this time around. It’s not stoopid anymore, but just plain stupid.
  30. A Wrinkle in Time
    A Wrinkle in Time, was strong enough to carry me through the film’s first, wobbly 15 minutes — but not a lot further.
Page:

Top Trailers

See all »
See all trailers »