New York Magazine (Vulture)'s Scores

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For 3,961 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: 2,220 out of 3961
  2. Mixed: 1,378 out of 3961
  3. Negative: 363 out of 3961
3961 movie reviews
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  1. 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.
  2. Opus
    Aside from the ingenious creation of Moretti and his occasionally unpredictable behavior, the film fails at creating interesting characters, deploying suspense, and even delivering some cheap thrills.
  3. From Paris with Love
    Morel will inevitably be compared to John Woo, whom he trounces. He has fewer mannerisms (no damn doves) and a keener eye; his fastest, most kinetic shots flow together like frames in a flipbook.
  4. Cold Turkey
    Cold Turkey is a simmering piece of holiday dystopia with a good, scorching boil-over.
  5. Madea's Witness Protection
    He's still a young guy, but all throughout Witness Protection I imagined Perry sitting glumly at a dressing-room mirror, like the aging Chaplin in "Limelight," forlornly rubbing makeup in his face - a tired, old clown stuck in a tired, old routine.
  6. Devil's Knot
    It’s not a bad film, exactly, but it’s a jumbled, uncertain one, and it never quite makes a compelling case for itself.
  7. Along Came a Spider
    There's not much here for a great actor to sink his teeth into once, let alone twice.
  8. Abraham Lincoln: Vampire Hunter
    Unfortunately, there's also a certain artificiality to the whole film, both visually and narratively.
  9. The Last House on the Left
    There's a huge change that turns the nihilistic carnage of Craven's original into something suffused with old-fashioned family values, so that we can relax and enjoy watching the bad guys get beaten, skewered, dismembered by garbage disposals, and tortured with microwave ovens.
  10. The House That Jack Built
    The film’s most offensive qualities have nothing to do with its grotesque violence and displays of human mutilation, but its terminal navel-gazing and reductive, borderline harmful ideas about art.
  11. Big Daddy
    Sandler being Chaplinesque isn't pretty; he's just doing his smart-aleck slacker shtick with a moister eye.
  12. A Bad Moms Christmas
    A Bad Moms Christmas is a film about women trapped in a bleakly infantilizing suburban hellscape with horrible lighting, whose only idea about how to subvert their situation is to scream and push people and hit each other in the crotch.
  13. Parallel Tales
    None of the female characters in the film acts in ways that suggest Farhadi has actually given much thought to what it’s like to move through the world as a woman.
  14. Halloween Kills
    You have to admire the effort — even as you survey, mouth agape, the calamitous results.
  15. The Loss of Sexual Innocence
    What I experienced was a lot of fetid experimental-film folderol perfumed by Chopin nocturnes on the soundtrack.
  16. Suburbicon
    The most charitable way to view it is as a Dadaist experiment, in which two tonally disparate movies were hacked down and their remaining strands woven together to bizarre effect.
  17. The Woman in Black 2: Angel of Death
    It’s a dour, drab, dark movie, enlivened by some moderately effective chills in the first half but ultimately undone by its downbeat aimlessness.
  18. King Arthur: Legend of the Sword
    King Arthur is guilty of many blockbuster sins critics have taken it upon themselves to call out over the last decade. And yet, seeing a version of them this derivative and dumb, with neither CGI grandeur nor a sense of fun on its side, is like a splash of cold water in the face, a reminder of how bad things can be when nobody cares.
  19. Jackpot!
    The real problem with Jackpot! (aside from the inept direction, the unfunny script, and the irritating characters) is that the whole film indulges in a kind of misanthropy that would require a lot more thought and ballsiness to pull off.
  20. Larry Crowne
    The film is sometimes gentle to the point of blandness, but it's never flimsy.
  21. Memory
    In the end, Memory’s greatest asset might be that it knows exactly what it is — a fun combination of sleazoid action and surprising emotion. It’s the best kind of B-movie.
  22. What to Expect When You're Expecting
    Somehow both annoyingly overstuffed and depressingly thin.
  23. Black Adam
    The film ultimately overloads us with so much amazing nonsense that we sort of give up and give in.
  24. 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.
  25. Cinderella
    A musical, theoretically, could reveal something under the surface, whatever thoughts her character isn’t able to articulate in dialogue. But there’s nothing under the surface here, just a girl trying to sell you a dress.
  26. Machete Kills
    The carnage (with its computer-­generated splatter) is meant to be campy fun, but it’s so offhand that there’s less suspense than in an Austin Powers movie.
  27. Battleship
    One of the more enjoyably terrible movies of the year.
  28. Venom: The Last Dance
    Venom: The Last Dance isn’t a lark, but a smirk to let you know that while everyone may be aware of what it’s up to, you’re the sucker who bought the ticket.
  29. In the Lost Lands
    What’s truly striking about the film is the storybook quality that Anderson has given every single scene.
  30. Child 44
    A story this dense with incident, character, and history needs to breathe a little — think "The Lives of Others," or "Zodiac" — but Child 44 has no rhythm. It’s blunt, rushed, and scattershot. You're exhausted, bored, and confused by it at the same time.
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