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. Annie
    The new Annie musical starring Jamie Foxx and Quvenzhané Wallis is pretty bad, but let’s be honest: Despite some decent show tunes, the show was pretty bad to begin with, so it’s not worth getting all righteous about the dumb changes.
  2. Big Daddy
    Sandler being Chaplinesque isn't pretty; he's just doing his smart-aleck slacker shtick with a moister eye.
  3. Collateral Damage
    A stinker.
  4. The Words
    The movie, written and directed by Brian Klugman and Lee Sternthal, is desultory when it's not inept, but the set-up is so good that you can't help sticking it out to the (unforgivable) end.
  5. What to Expect When You're Expecting
    Somehow both annoyingly overstuffed and depressingly thin.
  6. Blink Twice
    Unfortunately, Kravitz has neither the vision nor the range to deftly skewer the heinous foibles of wealthy men, let alone disrupt Tatum’s onscreen reputation.
  7. The Million Dollar Hotel
    He (Gibson) ramrods his way through the bugged-out hysterics as if he were appearing in a movie that actually made sense. What a brave heart.
  8. Self/less
    Eventually, you start to wonder if the movie forgot to take its own pills: What starts out as an interesting exploration of identity soon gives way to the uninspired, generic action flick we had feared it always was.
  9. Joker: Folie à Deux
    Mostly, Arthur is acted upon, even when he thinks he’s seizing control — a punching bag for the world and, more importantly, for the director, who subjects the character to so many indignities that he actually stops being pitiable and starts resembling the punchline to a very long, shaggy joke. By the end of Joker: Folie à Deux, that joke feels like it’s on us.
  10. Materialists
    While the press tour for the film has highlighted the rapport between its attractive and game stars, that doesn’t reflect the chemistry between them onscreen. There isn’t a flicker of heat between any of them. But the bigger issue is that each character is more of a threadbare idea improperly stitched together than a person.
  11. Pirates of the Caribbean: On Stranger Tides
    I've never seen a film in which what was actually onscreen seemed so irrelevant.
  12. The House
    All these performers are given decent setups, but the script loses interest in anything that starts to look like a comedic through line.
  13. Where the Crawdads Sing
    As the grown-up Kya, Edgar-Jones is perhaps best at conveying this young woman’s wounded inner life; that speaks to the actress’s talents. However, she never really feels like someone who emerged from this world, but rather one who was dropped into it; that speaks to the clunky filmmaking.
  14. 88 Minutes
    Forget Pacino; it’s all those red herrings that reek.
  15. 21 Grams
    It’s forceful, to be sure, but in a lurid way that suggests a telenovela that’s been baking in the sun too long.
  16. From Hell
    The only note of authenticity in the movie comes from Ian Holm, playing the royal physician. What is this nuanced performance -- at least until the final fireworks -- doing in this twaddle?
  17. My Big Fat Greek Wedding 3
    The scenery in My Big Fat Greek Wedding 3, largely shot in Corfu and Athens, is gorgeous but everything else about the film’s construction is an absolute mess.
  18. Smurfs
    It’s when the music stops and the movie is forced to contend with the mishmash of recycled elements it’s trying to use as a plot that it really flounders.
  19. The Last Witch Hunter
    Watching The Last Witch Hunter is like sitting by while someone else plays a game whose coolness eludes us.
  20. 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.
  21. 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.
  22. Macbeth
    I can’t decide if Kurzel’s Macbeth is worse than the geriatric Maurice Evans–Judith Anderson version I was forced to endure in high school, but it’s certainly less lively than the two terrible gangster updates, Joe Macbeth and Men of Respect.
  23. Wonder Woman 1984
    Sadly, all that glittered in the franchise’s first outing is gone in Wonder Woman 1984. The disappointing sequel highlights not only the dire state of the live-action superhero genre in film, but the dire state of Hollywood filmmaking as a whole.
  24. Getaway
    Getaway’s only claim to fame is that it may be the dumbest movie released this summer.
  25. The Twilight Saga: Breaking Dawn - Part 2
    If anything, this series has gotten dumber and more inert as it has progressed, with this last one finally reaching over into an extended wallow in camp.
  26. Regression
    Perhaps a story like this needed to be a drama. Or maybe, with its constant, almost comical shifting of blame, a dark satire. Instead, it’s wound up as the worst of all possible alternatives: a disposable genre movie that cannot scare, convince, or enlighten.
  27. Transformers: Rise of the Beasts
    It’s not spectacular enough to impress us, nor intimate enough to move us. It’s just kind of there — ready to be consumed and forgotten.
  28. The Choice
    By the time its finale rolls around, The Choice has completely undone its own spell.
  29. Flamin' Hot
    What makes Flamin’ Hot such a depressing offering isn’t the relative truthiness of its source material, but the qualities it holds aloft as inspiring.
  30. The Six Triple Eight
    The Six Triple Eight is about people who received no public recognition for their achievements at the time, but in trying to give them their belated due onscreen, this clunky excuse for a war movie ends up being more about what they endured than about what they accomplished.
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