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. The Da Vinci Code
    If there's anything to be learned from this dud, it's that when you decide to adapt an explosive property like The Da Vinci Code, playing it safe isn't safe: Either swallow hard and make the damnable thing or give it to someone with more guts and/or less to lose. Here is a saga that bombards the very foundations of Western religion. But onscreen, there seems to be absolutely nothing at stake.
  2. O
    It's a doomy dirge of a movie, in which the protagonists, or at least the actors who play them, aren't equipped to handle their outsize passions.
  3. The Son
    The ending may be heavily foreshadowed, but that doesn’t make the lead-up any less exasperating or what happens any less egregious.
  4. The Price of Milk
    Gets points for oddness. Excellence is another matter.
    • 51 Metascore
    • 30 Critic Score
    Wild Things
    Wild Things, which was written by Stephen Peters and directed by John McNaughton, lacks fantasy and flamboyance, that it lacks, precisely, wild things, and that most of it is just flat.
  6. Hot Summer Nights
    As it cliff dives, unprompted, into reheated cocaine-nightmare territory done better by any number of 1990s ’70s nostalgia films before it, it not only ceases to be fun, but stops pretending it has any vision for where its lead characters should go.
  7. The Witches
    It’s an adaptation without direction or purpose, with an unwieldy but deeply committed performance at its center. Hathaway looks to be having fun, at least. Someone should!
  8. Irreplaceable You
    A half-baked tragic love story so desperately engineered to tear-jerk that it ceases to resemble anything human.
  9. Snake Eyes: G.I. Joe Origins
    If we absolutely must have G.I. Joe movies, surely they shouldn’t be this joyless.
  10. Now You See Me: Now You Don't
    The pieces are in place — detestable villain, likable cast — but Now You Don’t can’t muster up the energy or the wit to make us care one lick about what’s happening onscreen.
  11. The Exterminating Angels
    Exterminating Angels is meant as an autocritique--and yet the director can't get past his notion of himself as a fearlessly transgressive artist-hero, a martyr to the limitations of male gaze.
  12. Knock Knock
    The film collapses, because it doesn’t convince us on a basic level: The characters are driven by convenience, not behavior, and their actions seem like they’ve been manhandled into place to make the plot work.
    • 35 Metascore
    • 30 Critic Score
    Sphere
    At the end of Sphere, the three principals -- Dustin Hoffman, Samuel L. Jackson, and Sharon Stone -- agree, for the good of humanity, to forget everything that has happened to them in the movie up to that point. This is a pact I can only rush to join, and with exactly the same motive.
  14. The Adam Project
    It’s an assemblage of ideas from other popular films that just hangs there with little cohesion. It’s like watching a movie that hasn’t been made yet.
  15. Birthday Girl
    The film's Russians are all played by French and Australian actors. Too bad Butterworth didn't find a Russian to play the Brit. That would have made the inauthenticity complete.
  16. The Canyons
    The Canyons isn’t just bad, it’s rank — and it takes a peculiar sort of integrity to denude the frame of life to the point where it smells to heaven.
  17. Olympus Has Fallen
    Olympus Has Fallen is a disgusting piece of work, but it certainly hits its marks — it makes you sick with suspense.
  18. 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.
  19. Brotherhood of the Wolf
    An exuberantly garish French movie.
  20. The Devil Inside
    It has been a long time since I've heard people - many people - distinctly yell, "Boo!" Usually they just growl or moan or hiss. They don't bother actually to articulate the word "Boo!" I second their statement. The ending reeks.
  21. Starsky & Hutch
    Ends with a bunch of goofy outtakes--which are as dismal as the rest of the movie. How do you decide what to leave out when there's nothing worth keeping in?
  22. 65
    65 is not good, if that even needs to be said. For something that involves almost nonstop dino action, it’s impressively unengaging, like watching a video game no one’s allowed to play. But its mangled badness is kind of compelling.
  23. Enemy at the Gates
    It's as if an obsessed movie nut had decided to collect every bad war-movie convention on one computer and program it to spit out a script.
  24. Jungle Cruise
    The clarity of its aspirations just makes the film’s downfall that much more pathetic, like a baseball player pointing to the home run he’s about to hit and then completely whiffing and landing on his ass.
    • 46 Metascore
    • 30 Critic Score
    Beverly Hills Cop II
    Scott keeps things moving so fast that all you really take in is the whirring speed, not what’s happening.
  26. Rosebush Pruning
    Rosebush Pruning tries to be about something while pretending not to be about anything at all; it’s somehow both too stupid and too cool for the room.
  27. Flower
    I’ll give Flower props — in an age when so many teen movies are grasping so desperately for message-y topicality, it does the impossible, and manages to be about nothing at all.
  28. K-PAX
    Spacey is turning into another Robin Williams: Between this film and "Pay It Forward" he cops the prize for the Sappiest Performances by an Actor Previously Known to Have Great Talent.
  29. All Eyez on Me
    All Eyez on Me is rarely more than a faithful adaptation of the rapper’s Wikipedia entry, so fixated on name-checking every footnote of Shakur’s public life that there is no space to explore the experience of the man himself.
  30. Gunner Palace
    Gunner Palace too often makes the grunts look like mean slackers -- precisely the opposite, one presumes, of what was intended.
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