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. Ride Along
    It all mostly works, but you can’t help but wonder at times if it could have been a lot funnier if it had just a bit more edge.
  2. Tom Clancy’s Without Remorse
    Without Remorse is awful — an incoherently shot, grindingly dull movie in which just about every actor manages to seem miscast.
  3. Moonfall
    It’s so unapologetically absurd and so very fun.
  4. Olympus Has Fallen
    Olympus Has Fallen is a disgusting piece of work, but it certainly hits its marks — it makes you sick with suspense.
  5. Kick-Ass 2
    Kick-Ass 2, a movie that, for all its predictable sequel-ness, manages to conjure up pretty much the same dark magic that the earlier film did, albeit with more troubling results. Believe it or not, Kick-Ass 2 is even more of a provocation than the first Kick-Ass.
    • 41 Metascore
    • 30 Critic Score
    The Terminal Man
    Even George Segal gone bananas, courtesy of an out-of-whack computer in his head, chopping a lady and her waterbed into slow-motion streams of diluted blood that makes pretty patterns on white tiles, doesn't alleviate the excruciating boredom and intermittent nausea produced by The Terminal Man. [24 Jun 1974, p.59]
    • New York Magazine (Vulture)
  7. The Curse of La Llorona
    It is a terrifically scary movie that I wish were more haunting.
  8. Spun
    As the cowboy-hatted wild man who cooks up speed in his motel-room lab, Rourke, who looks at home in his tattoos, is mesmerizingly grungy. He strikes a rare note of authenticity in this otherwise phony fandango.
  9. Pompeii
    More fun than any civilization’s fiery extinction should ever be, Paul W.S. Anderson’s Pompeii 3-D is gloriously exciting kitsch – a poor man’s "Titanic" crossed with an even poorer man’s "Gladiator."
  10. 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.
  11. When the Game Stands Tall
    The real-life story behind When the Game Stands Tall sounds amazing. But for all its exciting sports scenes, the movie version falls flat as drama.
    • 41 Metascore
    • 40 Critic Score
    Comes a Horseman
    [Pakula] has made the dreary mistake of reducing a half-dead genre to its basic elements, stripping away color, detail, humor--everything that makes it possible to regard a Western as a pleasure rather than an ordeal. [13 Nov 1978, p.128]
    • New York Magazine (Vulture)
  13. Passengers
    Only a corporate entity could deliver an ending like this one. But only humans could devise and enact the often delightful scenario that precedes it.
  14. Sabotage
    For Sabotage, as good as it is in its first half, can’t keep it together.
  15. Miss Bala
    The souped-up plot is certainly indigestible (cheesecake, beefcake, bullets — choke on that), and there’s a steady stream of bad laughs, but something genuinely frightening comes through: a woman’s sense of disempowerment by men on all sides of the law. Hardwicke sticks to her guns — meaning there’s no play in the gunplay, only horror.
  16. Britney Vs. Spears
    The result is a piece that’s more personal, but also not as rigorous and objective.
  17. The Quiet Ones
    This demonic possession story is at times so lame it makes the last "Paranormal Activity" flick look like a masterpiece.
  18. Darling Companion
    If you can stay awake, you'll see a performance by ­Keaton that is radiant in its simplicity, all ditheriness shaken off. She's still ­peaking - ­someone give her a great role.
  19. Here Today
    While Here Today never works, there is a confessional quality to it that makes it intermittently interesting. It’s the movie equivalent of someone telling what they think is a funny anecdote, but that instead comes out as an inadvertent glimpse into their soul.
  20. Gangster Squad
    The period thriller Gangster Squad plays like an untalented 12-year-old's imitation of Brian DePalma's "The Untouchables."
  21. Fatman
    There’s nothing wrong with subtle or contextual humor, of course, but here, frankly, it feels like a waste of a pretty great concept.
  22. Evolution
    Began life as a standard sci-fi horror script before mutating into the unfunny mess it now is.
  23. Paranormal Activity 4
    But the real problem behind Paranormal Activity 4 is that its entire raison d'être has gotten old; producer Oren Peli, who directed the first one, even included some gentle digs at the found-footage genre in his superior "Chernobyl Diaries," released earlier this year.
  24. An Acceptable Loss
    So-so quasi-thriller.
    • 40 Metascore
    • 80 Critic Score
    Tempest
    This movie, one of the most bizarrely ambitious works directed by an American in recent years, is certainly a mess, but it's a joyful mess, with far more invention and life than many a more conventional well-made film. [16 Aug 1982, p.42]
    • New York Magazine (Vulture)
  26. Act of Valor
    In the movie's best moment, an American sniper takes out a bad guy by a pier while a pair of hands reaches out of the water to grab the body so it doesn't make a splash and alert the other baddies.
  27. Horrible Bosses 2
    It puts the same characters into a vaguely familiar situation, with diminishing, tepid returns. They should have just called it 2.
  28. 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.
  29. Shaft
    It’s so aggressively puerile and phallocentric (big swinging dicks, big guns) it could be taken as a parody of a puerile, phallocentric action comedy — a hotfoot to feminists and girly-men. That’s a distinction without a difference, though, since either way it stinks to heaven.
  30. Here Comes the Boom
    So even if Here Comes the Boom doesn't quite work as a comedy (it's not particularly funny), or a drama (it's not particularly poignant), it has an earnest charm that keeps us engaged.
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