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. Maps to the Stars
    Please don’t bore me by complaining that the characters are “unlikable.” The defense admits that the movie is indefensible. Just breathe in the aroma of decay and howl like a banshee.
  2. Collateral
    Most of the time we are with Cruise and Foxx, and their interplay is never less than galvanizing.
  3. The Worst Person in the World
    The Worst Person in the World acts as a forceful reminder that the entanglements between women and the love interests dancing in and out of their lives matter less than the lifelong relationship we must maintain with ourselves.
  4. Hit the Road
    There is a sparseness to Hit the Road that reveals the intuitiveness of Panahi’s filmmaking, his grasp of these characters and how they tug and poke at each other, and his understanding of the ways fear, paranoia, and loss turn us into people we might not like, let alone recognize.
  5. No Country for Old Men
    It’s a near masterpiece.
  6. David Byrne’s American Utopia
    If your mind has opened even a little by the time American Utopia is over, that is a testament to what publicly presented art can do and why its absence is so deeply felt right now.
  7. Harry Potter and the Half-Blood Prince
    It was splendid! No, it’s not a larky kid-pic. We're firmly in the realm of English horror.
  8. She Rides Shotgun
    It showcases two astonishing performances: one from the always reliable Taron Egerton as the hardened, haunted ex-con Nate McClusky and another from newcomer Ana Sophia Heger as his young daughter, Polly, in whose queasy glances the drama finds its sorrow and its depth.
  9. Mysteries of Lisbon
    In Mysteries of Lisbon, the prolific Chilean-born director and egghead Raúl Ruiz has achieved something remarkable, at once avant-garde and middlebrow: the apotheosis of the soap opera.
    • 85 Metascore
    • 90 Critic Score
    California Split
    What lingers after the film’s bittersweet conclusion are the melancholy details of people leading lonely lives of compulsion and loss, looking for sympathetic companions in order to feel less sick.
  11. The Matrix Resurrections
    The Matrix Resurrections might lack the ground-shaking originality of its 1999 predecessor, but it manages to chart a stunning, divergent path, philosophically and cinematically.
  12. Observe and Report
    Observe and Report is the rare "action-comedy" (almost always a muddled hybrid) that earns its cathartic climax. The blood is real because the psychosis is real. But somehow--the magic of comedy--it's also uproarious.
  13. McQueen
    Thanks to a beautifully lush, moody score by Michael Nyman and great sound editing, even a fan who has pored over these archives obsessively will see them in a new light. What McQueen reminds those obsessives and laypeople alike is that fashion is an incredibly emotional art form, and McQueen’s work was some of the most moving there was or ever will be.
  14. Stray Dogs
    This amazing, maddening film presents a series of extended, mostly static, terrifying tableaux of despair, poverty, and decay.
  15. Everything Everywhere All at Once
    Everything Everywhere All at Once may be a kaleidoscopic fantasy battle across space, time, genres, and emotions, but it’s an incredibly moving family drama first.
  16. Flight
    No actor is as brilliant, or as cunning, as Denzel Washington at portraying superhuman coolness and the scary prospect of its loss.
  17. A Film Unfinished
    It becomes a meditation on the dual nature of film, on a "reality" at once true and false, essential and tainted.
  18. Silence
    The movie is impressive.
  19. School of Rock
    Linklater, whose previous movies include "Slacker," "Before Sunrise," and "Waking Life," may be the most versatile director of his generation. School of Rock is his most unabashedly mainstream movie by far, and yet it’s commercial in the best way.
  20. Way Past Cool
    It’s a magical little movie about a most unmagical subject.
  21. Peterloo
    The first time I saw Peterloo, it sent me out of the screening room onto Park Avenue with my blood boiling. Despite the oratory and the funny hats, Leigh’s ability to incite felt utterly contemporary and urgent.
  22. The DUFF
    Wit and charm matter, and The DUFF has a good deal of both. The cast will be stars, the gags will be immortal, and you’ll still be watching this movie years from now.
  23. Raising Victor Vargas
    A comedy in the best sense--it draws its life from the pitch-perfect authenticity of its characters.
  24. The Seed of the Sacred Fig
    Thanks partially to actual protest footage filmed by Woman, Life, Freedom participants, there’s a thoroughness to the way the film presents the perspectives of the young women living in the country.
  25. I Am Not Your Negro
    Raoul Peck’s driving, free-form documentary I Am Not Your Negro is not a direct response to Donald Trump’s delighted recognition of the lone nonwhite face he saw at one of his rallies: “Look at my African-American over here!” But the movie feels, if anything, even timelier, which is to say, timeless.
  26. Gett: The Trial of Viviane Amsalem
    The brilliance of Gett: The Trial of Viviane Amsalem is that, without a shift in tone, the film begins to seem like a tragedy populated by clowns, its males clinging to ancient laws to compensate for feebleness of character.
    • 69 Metascore
    • 90 Critic Score
    Live Flesh
    Live Flesh, the best movie from Almodóvar since that Iberian screwball classic "Women on the Verge of a Nervous Breakdown."
  28. Theeb
    The film remains grounded in the elemental, the practical, and the real. That’s not to say it isn't beautiful.
  29. The Salesman
    All I can is that I didn’t draw too many breaths during the last half hour.
  30. Yes
    Yes! becomes an anguished film, though that eventuality isn’t as nauseatingly propulsive as its first chapter, which is such a caustic depiction of cognitive dissonance that it stings to watch.
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