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. Head in the Clouds
    The film is a stodgy snooze, and Theron, who is about as expressive here as a porcelain doll, lacks all believability--she's followed her best performance (in Monster) with her worst.
  2. The Hunger Games: The Ballad of Songbirds and Snakes
    It’s all thematically muddled, narratively regurgitated stuff that makes the film feel like a nearly three-hour backsliding of this franchise’s onetime political forcefulness.
  3. Charlie Says
    A social worker’s take on a lost soul can be valuable, but in a drama it’s too orienting. You want to see how a person could surrender herself — her self — to something so diabolical, which demands a higher level of insanity than the filmmakers can muster.
  4. Hellraiser
    We get a reboot that takes no risks and steers away from the uncomfortable sexual jolts of its predecessor. This movie doesn’t raise hell. Honestly, it barely raises heck.
  5. The 5th Wave
    For all the goodwill generated by its early scenes, by the time The 5th Wave lumbers to its conclusion, you realize you’re not watching a movie but an act of crisis management.
  6. Vehicle 19
    Vehicle 19 sets up a fascinating conceit for itself, and then loses interest in delivering on it. It just wants to get to the cool car chase, but by the time it does, we’ve stopped caring.
  7. 13th
    In the main 13th makes connections that haven’t been made in a mainstream documentary before.
  8. The Perfect Guy
    The kind of movie you keep wishing would just cut loose and go off the deep end. Nobody goes to these "Fatal Attraction" retreads anymore for serious drama. But this one is a movie torn — too grim and self-important to go truly nuts, but too silly and slipshod to work on a more somber level.
  9. Lee Cronin's The Mummy
    The Mummy is an enormously silly gross-out flick that for some reason believes it ought to be a meditative slow-burn affair.
  10. Wrath of the Titans
    Wrath at least has the good sense to try to have a little fun with its mince-myth premise. It's better than Clash, but it's still not particularly good.
  11. The Nanny Diaries
    As you watch the nannies mistreated and the children left to cry themselves to sleep, the only surprise is that there are no surprises. It’s zombie-land.
  12. Angel Eyes
    Together, Lopez and Caviezel make quite a pair. Sorrowful yet hip, they seem to be inventing a new mood: designer melancholia.
  13. Napoleon
    Napoleon is not, thank god, a hagiography. But it has the faltering rhythms of a rough draft — it plays as though Scott gave up on trying to carve a good film out of what actually ended up on screen.
  14. The Reader
    It appears that the filmmakers have taken Hannah Arendt's notion of the "banality of evil" way too literally.
  15. Storytelling
    Twisted and outrageous but ultimately artificial. Albert Brooks did this art-reality thing a lot better years ago in "Real Life," his takeoff on PBS's "An American Family," and was sidesplitting besides.
  16. Charlie's Angels
    Where the last two Charlie’s Angels installments were sold on their trio of stars, this soft reboot has leads at various levels of recognizability, and they all seem to be acting in their own movie.
  17. As Above, So Below
    There are moments of welcome tension amid the inchoate lunacy, but these in turn merely highlight why the rest of the film doesn’t work.
  18. Gangster Squad
    The period thriller Gangster Squad plays like an untalented 12-year-old's imitation of Brian DePalma's "The Untouchables."
  19. Free Fire
    The result is reasonably entertaining and totally disposable. Which it shouldn’t be, given that its focus is on guns and the way that they facilitate mayhem. Gory farce can be bracing. It’s the glibness that’s unconscionable.
    • 43 Metascore
    • 40 Critic Score
    Palmetto
    Palmetto is an unconvincing, paint-by-numbers pass at American noir by the usually ambitious German director Volker Schlondorff (The Tin Drum).
  21. All or Nothing
    The empathy never lifts off -- never becomes poetry. It doesn't help that Leigh indulges his unfortunate habit of larding the soundtrack with draggy, mournful music, heavy on the cello.
  22. Bad Company
    Some of this stuff is uncomfortably close to minstrelsy. Bad Company closes on a patriotic note in a brief scene that pays heartfelt tribute to the terrorist-thwarting sacrifices of the CIA. Timing is everything, I guess.
  23. Stagedoor
    Stagedoor features unremarkable rehearsal footage (exhibitionists make poor subjects for vérité documentaries) and thoughtful but unsurprising interviews with camp counselors and parents.
  24. Snow White
    That, in chasing something vaguely progressive and YA-inspired with Snow White, Disney has turned out a film with some hilariously timely choices is a great joke, though I wouldn’t call it an intentional one.
  25. Disenchanted
    This isn’t an organic continuation of Giselle’s story so much as an uninspired knockoff of the original, yet another attempt to use existing IP to attract viewers and subscribers besotted by the prospect of watching something familiar on a Friday night.
  26. Bones and All
    The pleasures of Bones and All wind up being incidental and, sadly, fleeting — an effectively grisly scene here, an arresting performance there. The film, as a whole, never quite hangs together, because even as it goes through the motions of both the road movie and the romance, it never really finds an animating energy to drive it along.
  27. 17 Again
    What I can't accept is that the stringy, insipidly earnest teen idol Zac Efron would grow up to be the defensively ironic, twisty-faced Matthew Perry.
  28. Town & Country
    Sets up a cast -- and then proceeds to knock them down like ducks in a shooting gallery.
  29. Bee Movie
    The film will be huge. It’s busy. It’s kinetic. It’s a treat for kids. But like much of Seinfeld’s work outside his TV show, it’s impersonal. It doesn’t come from anywhere interesting.
  30. The Nightingale
    It’s constructed like a meathead melodrama — though with odd, last-act dissonances that might reflect Kent’s ambivalence.
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