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. Auto Focus
    Schrader really isn't interested in Crane except as the straw man for his moral lessons about sin and sexuality and the nature of celebrity. Auto Focus is the perfect capper to Crane's career: Even in a movie about himself, he remains minor.
  2. Spider-Man: No Way Home
    It’s not just the action and the magic that flop. Even the film’s more intimate moments fall flat.
  3. The Girl on the Train
    A filmmaker has a feel for this kind of storytelling or doesn’t, and the people behind The Girl on the Train don’t.
  4. I Think We're Alone Now
    After its intriguing start, the movie gets dumb and dumberer. “Third-act problems,” concluded many in the Sundance audience. But the first two acts have issues, too.
  5. Twisters
    That compulsion to reverse engineer serious stakes for a fundamentally frivolous story is Twisters’ most contemporary quality and its most irritating.
  6. Fantastic Beasts and Where to Find Them
    The movie might pass muster for kids weaned on the Harry Potter films — I shudder to think of the movies that pleased me when I was 7 or 8 — and uncritical critics. But you’d have to be desperate for another Potter fix to think this is magical entertainment. It’s thoroughly No-Maj.
  7. It Ends with Us
    The movie wants to be a form of comfort food, assuring us that everything would be all right if only women embraced their traditional roles as nurturers, mothers, and healers, but it all just tastes stale.
  8. Cats
    There is something magical about the simple fact that this movie exists, in all its obscene, absurd wonder, its terrible filmmaking choices and bursts of jaw-dropping talent. It doesn’t need to be timely to be an artifact of its time — a movie about nothing but song and dance and, most important of all, about cats.
  9. Sherlock Holmes: A Game of Shadows
    The only reason to put yourself through Guy Ritchie's overblown, inelegant Sherlock Holmes: Game of Shadows is to see Jared Harris, who plays Professor Moriarty, in a chilling low key.
  10. Hellboy
    It’s inert where it should be fast, and cluttered and choppy where it should be rousing. Which is a shame, because Hellboy, as conceived, is one of the more interesting comic book heroes we have. He deserves better than this.
  11. Margaret
    This is the first bad movie that has ever made me call for a sequel - to get it all right.
  12. Terminator Salvation
    With McG's migraine-inducing jerky-cam and monochromatic palette (livened only by splotches of rust), Terminator Salvation puts the numb in numskull.
  13. The Transporter Refueled
    Stupid, stupid, stupid — and it certainly knows it. You might even chuckle contentedly at its knowing silliness — that’s sort of what this low-rent franchise is here for — but you’ll also miss Jason Statham, whose deadpan self-awareness somehow legitimized the ridiculousness of the previous films.
  14. Blacklight
    Part of the fun of movies like this is the opportunity for the audience to immerse themselves in the procedural minutiae of these worlds, but there’s precious little of that here. Everything is so empty, so incomplete. Blacklight feels like a synopsis waiting for a story.
  15. Spinal Tap II: The End Continues
    This Is Spinal Tap is a comedy about how the desire to be seen as a rock god collides with the humiliations of actually being human, and the visual of a group of guys in their 70s and 80s unable to move on from the styles of their youthful heyday is as effective a continuing riff on this theme as any. It’s also the only one fully realized by the new film.
  16. I Origins
    I Origins really loses its oomph when Ian travels to India in search of a particular pair of eyeballs, and the movie closes on a note that would make even M. Night Shyamalan roll his own.
  17. French Exit
    Watching the movie summons the distinct sensation of arriving at a party just as the guests are starting to leave.
  18. Christopher Robin
    It is one of the more sadistic family films I have ever seen, a picture of the residents of a neglected childhood reckoning with the abandonment of their beloved, now grown-up human leader.
  19. The Family
    But Besson — by no means a bad filmmaker — has gotten rich off that kind of violence that upsets no one, least of all jaded international action audiences. He tries to have it both ways and fails some of cinema’s most precious resources.
  20. Promised Land
    It collapses on all fronts, delivering hot-button platitudes and just-add-water character development.
  21. The Chronicles of Narnia: Prince Caspian
    Such a clunkerama that it made me rethink all the nice things I wrote about its predecessor, "The Lion, the Witch and the Wardrobe." Could the same people have made both films?
  22. The Big Wedding
    The Big Wedding isn’t terrible. De Niro is actually pretty good here — the script gives him plenty of raunchy one-liners, and, while they’re mostly lame, he delivers with conviction, which counts for something nowadays.
  23. Don't Look Up
    It’s hard to think about who, exactly, is going to be moved to make changes to how they live their lives by Don’t Look Up, a climate-change allegory that acquired accidental COVID-19 relevance, but that doesn’t really end up being about much at all, beyond that humanity sucks.
  24. The Mist
    A derivative horror picture that somehow rises to the level of a primal scream. The premise is simple, by which I mean both easy to understand and feeble-minded.
  25. Mothers' Instinct
    Mothers’ Instinct is, indeed, pretty terrible, and not in the so-bad-it’s-good sense, and yet there’s something strangely moving about it. It’s a poignant example of how what looks like rich material to actors can turn out to be lousy material for audiences.
  26. Riding in Cars with Boys
    Thank God for Barrymore: When Beverly's water breaks and she looks down at her feet and cries, "This is so gross," you know how good this actress can be, and how good this movie might have been.
  27. Knight of Cups
    He has told the story of humanity’s fall from grace so many times that you wonder if his wand is starting to sputter.
  28. The Dark Tower
    As a mascot, McConaughey embodies the movie’s lack of conviction, but as an indication that a star could conceivably be computer-generated with no loss of affect or facial mobility, he might inspire the next generation of bloodless fantasy epics.
  29. Buffalo Soldiers
    This is low-grade satire. The shocks to the system in Buffalo Soldiers are nothing more than cheap thrills.
  30. Analyze That
    Compounds the problems of its predecessor, "Analyze This," while duplicating almost none of its humor.
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