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. Men, Women & Children
    The real problem is that the film doesn't know what to do with its depiction of life in the interconnected age. It’s a nothing movie.
  2. Crossing Over
    There are a bunch of other clunky immigrant subplots (the Jews get a comic one, the Turks a scary one), but it isn't until the massacre–cum–civics tutorial in the liquor store that Crossing Over crosses into the mythic realm of camp. What a waste. I still say it's better than "Crash," though.
  3. Jurassic World Dominion
    It’s frantic yet lifeless, chaotic yet pro forma. A thorough lack of care emanates from the screen.
  4. Adore
    The unfairness of it all would be worth getting more worked up about if Adore were a better movie. It’s not. But it’s a fascinating one nevertheless — a case study in thwarted cinematic ambition and a cautionary tale of stylistic timidity.
  5. 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.
  6. Amelia
    It’s all so glancing and superficial that the movie doesn’t seem to have a present tense. It goes by like coming attractions. It is, however, a treasury of bad biopic dialogue.
  7. Baywatch
    It’s the smart-ass nerd’s Baywatch. The movie is okay, though, if you don’t mind manic pacing and icky dick jokes.
  8. Be Cool
    A hapless comedy that already seems about ten years out of date, Be Cool is a curious failure.
  9. Gimme Shelter
    Whatever its politics, Gimme Shelter fails on multiple levels.
  10. Burying the Ex
    Dante’s newest movie, Burying the Ex, doesn’t make the leap to satire. It has a lame-pun title, a zombie premise that might have seemed fresh two decades ago, and the sexual politics of an unusually backward adolescent male horror nerd. For all that, it’s a lot of fun, and Dante’s heart is palpably in it.
  11. Son of God
    Their movie has its moments, to be sure, and the target evangelical audience may well respond enthusiastically, but, unless your own salvation is riding on it, the film is mostly a slog.
  12. Serenity
    Serenity isn’t just meant to surprise you — which it will — but to give you an emotional wallop — which it may or may not. It didn’t work for me: I was too hung up on the fanciness (and, in truth, ridiculousness) of the final half-hour to feel everything Knight wanted me to feel.
  13. Wrath of the Titans
    Wrath at least has the good sense to try to have a little fun with its mince-myth premise. It's better than Clash, but it's still not particularly good.
  14. The Lone Ranger
    Appalling in ways that you could never have anticipated. The movie mixes mismatched-buddy high jinks with scenes of carnage.
  15. Evan Almighty
    Evan Almighty runs out of comic invention early, and the filmmakers fall back on what real politicians do when they exhaust their small stash of ideas: brainless piety.
  16. The Face of an Angel
    The film does occasionally show a pulse when it tries to reimagine the life of the victim — it turns the tables on the mystery and tries to become a film about love and life instead of doom and death. But it’s too little, too late, and too lame.
  17. Annabelle
    Familiarity is not always a bad thing, though. "The Conjuring" breathed new life into old clichés; it showed that those creaking doors and possessed closets and white-robed figures still had the power to scare us. But that was a movie made with sensitivity and purpose. The blunt, lifeless Annabelle, on the other hand, sucks that life right back out.
  18. 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.
  19. Bad Company
    Some of this stuff is uncomfortably close to minstrelsy. Bad Company closes on a patriotic note in a brief scene that pays heartfelt tribute to the terrorist-thwarting sacrifices of the CIA. Timing is everything, I guess.
  20. Are You Here
    It’s funny, clunky, earnest, and barely credible, but it’s all of a piece.
  21. All the King's Men
    As Willie Stark, Sean Penn demonstrates how a great Method actor can make the world’s most unconvincing rabble-rouser.
  22. Analyze That
    Compounds the problems of its predecessor, "Analyze This," while duplicating almost none of its humor.
  23. Fun Size
    Still, it's hard not to think that there's a darker, funnier movie in there waiting to get out. In the meantime, we'll always have the humping chicken.
  24. Jessabelle
    It’s a strange spectacle: a horror film that spends as much time dismantling suspense as it does building it.
  25. Star Trek: Section 31
    The film adopts a visual slickness that renders it anonymous. You don’t have to squint hard to recognize how the writers and the director are cribbing from other science-fiction franchises in an attempt to refresh Star Trek — though all that accomplishes is giving the franchise a center of gravity that isn’t its own.
  26. The Nut Job
    A delightfully goofy slapstick cartoon with a surprisingly dark heart.
  27. In the Blink of an Eye
    It feels hurried, generalized, inattentive. There’s no specificity, no immersive sense of people actually living their lives. Again, that’s probably partly intentional. But it sure feels like a miscalculation for a movie about the survival of humanity to have so little humanity in it.
  28. Only God Forgives
    In my own world, Only God Forgives plays somewhat differently. I thought it was just about the worst f---ing thing I’ve ever seen. In fact, I was depressed it wasn’t laughed off the screen.
  29. The Cloverfield Paradox
    Things speed up too quickly, meaning just when the movie’s rhythms should become loopier and the action more eccentric, The Cloverfield Paradox becomes one more formulaic ticking-clock series of chases and shootings with a moral dilemma for pathos and then uplift.
  30. The Super Mario Galaxy Movie
    Like being asphyxiated in a ball pit filled with candy, the experience of watching The Super Mario Galaxy Movie is at once kaleidoscopic and nerve-wracking. It pantomimes the hallmarks of a good time, with a fast, forced cheeriness; the flashing lights, bright colors, sparkly design, and subplot-happy narrative are there to hold our attention and charm us, but they accomplish the opposite, instead making us worry about what we’re missing.
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