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. Dark Places
    As a result, the mystery itself eventually becomes tiresome and shrug-worthy, even as the film breathlessly racks up the revelations. In the end, this twisty thriller just winds up twisting in the wind.
  2. Dead Man Down
    More a dark fairy tale about vengeance than the action-packed crime thriller it purports to be, the film is at times exhilarating, bold, and beautiful — when it’s not busy being ludicrous, fragmented, and just plain stupid.
  3. Clash of the Titans
    It isn’t a train wreck--a train wreck would be memorable. What’s wrong is wrong by design.
    • 39 Metascore
    • 20 Critic Score
    Why Him?
    Wealth does not confer decency and should not excuse noxious behavior, and it is not a replacement for a soul. But it is, apparently, the final answer to the question in the movie's title.
  5. The Green Hornet
    At least The Green Hornet is likable, and a refreshing change from the heavy, angst-ridden superhero pictures so beloved by obnoxious fanboys.
  6. Nobody's Fool
    It’s a mess, whatever it is, but it’s not without its charms.
  7. Bringing Down the House
    Although that pairing (Martin/Latifah) alone may be enough to make this movie a hit, the material is thin and pandering and almost criminally negligent in bypassing opportunities for humor.
  8. Death in Love
    A pretentious and stilted but weirdly compelling blend of sins-of-the-parent saga and horror movie.
  9. Need For Speed
    Based on the popular video games, this is a movie with breathtakingly visceral racing scenes, and they are matched by a breathtakingly, breathtakingly terrible script.
  10. The Nutcracker and the Four Realms
    There’s nothing grounding enough here; everything — the sets, the costumes, the performances — seems to drift off in a CGI haze. As a contender for cherished childhood mythology, its methods are cheap. And as a mere child distractor, it seems awfully expensive.
  11. Aftershock
    If all this sounds outrageous, and extreme … don’t worry, it’s not. Provocation coupled with ineptitude doesn’t reveal the ugliness of humanity; it simply reveals the ugliness of the filmmakers themselves.
  12. The Greatest Beer Run Ever
    It’s hard to tell if The Greatest Beer Run Ever is a comedy that wants to be a drama or a drama that wants to be a comedy. Of course, a film can be both. This one, alas, is neither.
  13. Here
    It’s a bold formal choice to regard the world through a fixed point in space, and, unfortunately, it’s all in service of the biggest pile of schmaltz you’ll see this year.
  14. The Darkest Minds
    The Darkest Minds is just too foggy to make out much of anything in.
  15. As Above, So Below
    There are moments of welcome tension amid the inchoate lunacy, but these in turn merely highlight why the rest of the film doesn’t work.
  16. The Gunman
    The Gunman passes the time, but it never quite reconciles its conflicted nature. It’s not smart enough to be a paranoid thriller, nor fun enough to be a blood-soaked action flick.
  17. When Will I Be Loved
    In much the same way that Godard used heroines like Anna Karina or Bardot, Toback showcases Campbell's face as a placard of unknowability--a quality he recognizes as inherently feminine. The (inadvertent) question we are left with is, How much is there to know about her anyway?
  18. The Other Woman
    A montage-happy, occasionally unpleasant film that’s still strangely watchable, The Other Woman is almost saved by a cast that’s … well, likable isn’t quite the word.
  19. Johnny English Strikes Again
    The film doesn’t offer many huge belly laughs — Atkinson has never been one for big comic climaxes — but it does deliver a fairly steady stream of pleasant chuckles, many of them mixed with generous doses of humiliation comedy.
  20. The Sitter
    The Sitter feels slapdash and quick, but you might not want to have it any other way.
  21. Tammy
    I hesitate to label the result as bad or good. It’s just … off.
  22. Ella McCay
    Ella McCay is gas-leak cinema at its finest, which is to say that there is a naïve purity to its unhinged qualities that is almost charming.
  23. Justin Bieber's Believe
    My daughter wants you to know that the movie is great and that you shouldn’t listen to a hater like me. I envy her belief.
  24. Pirates of the Caribbean: Dead Men Tell No Tales
    It’s stuffed to the gills with effects executed by the highest-paid artists and technicians in the business. But it’s still a sorry spectacle.
  25. Dear Evan Hansen
    That magnetic, musical pull toward Evan is at work in Chbosky’s movie version. But now the pull is coupled with a powerful push — in other words, repulsion — that keeps us from being seduced.
  26. Michael
    Watching it feels more like being frog-marched through a wax museum than watching a movie, each milestone restaged with an off-putting, uncanny-valley resemblance and no interiority.
  27. The Intruder
    It’s the rare actor who can make playing a character this messy look so effortless.
  28. Woodshock
    There are a lot of half-complete ideas among the sisters’ jumble of imagery, but trying to tie them together is a fitfully enjoyable, if ultimately fruitless experience.
  29. Underworld: Awakening
    Anyway, "Children of Men" this ain't, though the inert directing of Len Wiseman (who helmed the first two films and has a producer credit here) has thankfully been replaced by Mans Marlind and Bjorn Stein, who seem to have a lot more verve and even some visual whimsy.
  30. Planes
    On just about every other level other than visuals, Planes is dry, dry, dry. There's no verbal wit, no standout vocal performances.
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