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 Mexican
    He's (Gandolfini) the true star of the film, and his stardom is achieved in the most honest of ways, through the sheer brute force of his talent.
  2. Holy Spider
    It’s not the first film to try to disguise its titillation at violence, in particular against women, with blunt, larger themes. But when those themes are about the structures that enable that violence, the whole enterprise just feels repellent.
  3. Rebel Moon Part 1: A Child of Fire
    Crumbling under the weight of its own visionary grandiosity, Zack Snyder’s Rebel Moon is a series of amazing-looking sets and costumes and effects looking for a story, characters, emotion — really, anything that might raise the pulse.
  4. Captain Corelli's Mandolin
    Based on an interminable 1994 international bestseller by Louis de Bernières that I found impossible to make my way through. The movie duplicates exactly my experience with the book, although I must say I was thankful to be spared serial outbreaks of hearty Greek dancing.
  5. Izzy Gets the F*ck Across Town
    I know I’ve been rather harsh on an indie film that deserves points for its ambitions, so let me end on a brighter note. If Papierniak took that scene with Stanfield and started over with it, he might have a hell of a good rom-com. He needs to learn to separate the gold from the f*cking shit.
  6. Kraven the Hunter
    Kraven the Hunter explores the inner workings of a guy we didn’t care about to begin with, alongside underwhelming action sequences and a lot of scenery chewing.
  7. Confessions of a Shopaholic
    If the movie didn't pander so madly to the audience for "Sex and the City" and "Legally Blonde," it might have been a comedy touchstone instead of a cringeworthy footnote.
  8. Miracle at St. Anna
    When Lee isn't doing cinematic somersaults or mining for injustice, he doesn't seem to know where to put the camera. The logistics of the plot make no sense, and he has nothing to sell but the theme of our common humanity--in which, on the evidence, I don't think he believes.
  9. Riddick
    As a result, we get relatively little insight into the other characters as they react to Riddick. Without an unknown force to spark our own imaginations, the result is mostly dead air.
  10. Blindspotting
    It’s not that Blindspotting doesn’t have important points to make about how individuals live in a collective history of racialized violence. It’s that it has a hard time making those points feel organic to the story and style, whether it’s going for realism or over-the-top musical-theater territory.
  11. Changeling
    It would be a horrific story even if underplayed, but Eastwood shoots it like a horror movie.
  12. The Happening
    A high-toned revenge-of-nature horror picture, it's a little depressed, with only gross-out shocks (gushing jugulars, bodies run over by lawnmowers) to relieve the torpor.
  13. Exporting Raymond
    Amusing and annoying in the wrong ratio, maybe 30/70.
  14. The Bride!
    Like Shelley’s much-adapted creature, The Bride! is a creation of enormous ambition. It’s also an incoherent disaster — and not of the noble folly variety. It leaves you with the sinking feeling of watching someone fight their way to the front of a crowd to speak, only to realize when the spotlight is finally on them that they’re not actually sure what to say.
  15. The Expendables 3
    A sad, bad, parade of uninspired cameos and listless violence.
  16. AGGRO DR1FT
    Eventually, the oppressive sameness of everything becomes stultifying — which to me feels like a death blow for something so self-consciously experimental and wannabe visionary.
  17. The Bricklayer
    The Bricklayer isn’t worth seeking out — it’s ideally stumbled onto on cable TV on a hungover Saturday afternoon, when there’s plenty of time to reflect on how little time a slumming Tim Blake Nelson, playing the director of the CIA, must have spent on set.
  18. Wild Wild West
    From the look of this film, its prime appreciators will be heavy-metal futurist dweebs.
  19. The Day After Tomorrow
    The catastrophe is so pulped and exaggerated that uninformed audiences will safely assume that global warming is just a Democratic scare tactic.
    • 48 Metascore
    • 30 Critic Score
    The Real Blonde
    Stupidity is also an issue in the independent film The Real Blonde, in which everyone seems to have suffered an IQ slippage of some 40 points.
  21. Boarding Gate
    Boarding Gate was evidently made quickly and cheaply, and parts of it are fun. It’s too bad there’s no real viewer equivalent--that you can’t WATCH a film quickly and cheaply.
  22. Captain America: Brave New World
    The notion of the self-doubting hero is nothing new. Still, it might have been interesting to pursue, had it been handled here with anything resembling wit, or intelligence, or depth.
  23. Showtime
    Eddie Murphy and Robert De Niro have made any number of lame movies on their own, but there's a special wastefulness connected to their first co-starring vehicle, Showtime: It's lameness times two, and then some.
  24. Oculus
    One reason Oculus feels so talky and monotonous in spite of its tricky syntax is that the space itself isn’t charged with malignancy. And the monster doesn’t compensate — it’s dumb, blockish, inert. The mirror doesn’t have two faces. It barely has one.
  25. The Lazarus Effect
    Sort of a Flatliners for the sensitive indie-actor set, The Lazarus Effect is a grimy, dopey, confused thriller that wastes a very likable cast.
  26. Warm Bodies
    For all of R’s allegedly humorous observations about the wasteland of the undead through which he walks, they feel tacked on — like somebody decided to turn this thing into a comedy at the last second.
  27. Edtv
    I've never been sold on this anti-TV thesis. It's snooty. It assumes we in the audience have seen the light denied the lower orders. Invariably, the people in these movies who are rendered blotto by the tube are dingbat common folk. EDtv takes this notion to a new low.
  28. Color Me Kubrick
    The movie is endless even at less than 90 minutes. You could use it, "A Clockwork Orange" style, as aversion therapy for seemingly incorrigible con artists.
  29. The King's Man
    The real sin of The King’s Man is its near-total lack of fun.
  30. Poor Things
    Poor Things is ultimately ugly — spiritually and narratively, which curdles even its aesthetic splendor.
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