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. Bright
    Bright turns out to be more interested in its mythrilpunk world-building than any kind of social commentary, which is a good thing, because while it is so-so at the former (the plot holes in this thing), it is clearly out of its depth with the latter.
  2. The Best of Me
    In The Best of Me, the melodrama feels so hurried and half-baked that the end result isn’t just disappointing. It’s borderline infuriating.
  3. I Am Sam
    I Am Sam is about as connected to the real world as Dr. Seuss's Green Eggs and Ham, from which its title is derived -- in fact, in the realism department, Seuss may have the edge.
  4. Hitman: Agent 47
    Hitman: Agent 47, much like its anonymous title, is a film pretending to be an action movie instead of the real thing. It might as well be a commercial. Or, hell, a video game.
  5. Infinite
    Infinite feels like a depressing fable about the movie industry.
  6. A Good Day to Die Hard
    A Good Day to Die Hard is the opposite of a labor of love. It has no good lines, no crackerjack fights, and only one mildly orgasmic revenge killing. It will satisfy no one — high-, low-, or middlebrow. Die Hard is finally in its death throes.
  7. Hick
    For a movie that deals with rape, criminality, and even racks up a real body count, Hick is whisper-thin and instantly forgettable.
  8. 47 Ronin
    This one never quite decides if it wants to be a big, boisterous epic or a solemn retelling, and it nearly disappears into the crack between the two.
  9. The Big Wedding
    The Big Wedding isn’t terrible. De Niro is actually pretty good here — the script gives him plenty of raunchy one-liners, and, while they’re mostly lame, he delivers with conviction, which counts for something nowadays.
  10. The Bag Man
    A wan little neo-noir whose intricacies inspire more tedium than suspense, The Bag Man is a good example of how to waste a solid cast.
  11. A Glimpse Inside the Mind of Charles Swan III
    As the film progresses, the actor fails to progress with it: As Charles Swan seems to become more aware of his loneliness, Charlie Sheen seems to become more protective of his Charlie Sheen–ness.
  12. Gentlemen Broncos
    The best part is Jemaine Clement as Benjamin’s grandiose genre hero, Dr. Ronald Chevalier. Even if you love him on "Flight of the Conchords," you’ll be unprepared for his genius--and charisma.
  13. Rage
    The movie is imprisoned by its Cage’s stiffness. All he gives us is strained, robotic seriousness. I’m not sure he even gives us any rage.
  14. Tyler Perry's A Madea Christmas
    I don’t know, maybe it worked as theater. Onscreen, it’s torture.
  15. Pixels
    A movie like Pixels should be stupid and energetic, not stupid and lifeless.
  16. Mortdecai
    In the end, we must lay the badness of Mortdecai at the feet of its star. I envy Depp’s capacity for self-amusement, but it’s a pity he’s so rich and enbubbled that no one dares say to say to him, “Er, Johnny ... this is, er, really very bad.”
  17. The Happytime Murders
    The Happytime Murders turns out to be a stupefyingly sh—y puppet movie.
  18. Flatliners
    I wish I could tell you they made a mistake and it’s not so bad, but, as Andy Kaufman’s Foreign Man would put it, “Ees so bad, ees terrible.”
  19. Sex and the City 2
    The most depressing thing about Sex and the City 2 is that it seems to justify every nasty thing said and written about the series and first feature film.
  20. Blacklight
    Part of the fun of movies like this is the opportunity for the audience to immerse themselves in the procedural minutiae of these worlds, but there’s precious little of that here. Everything is so empty, so incomplete. Blacklight feels like a synopsis waiting for a story.
  21. Transformers: The Last Knight
    The Transformers movies are a favorite object of critical scorn, and narratively, The Last Knight remains barely coherent. But it’s more fun than "Age of Extinction," though both movies are so drunk on money and effects they accidentally go weird.
  22. The Women
    It's fascinating trying to separate the thirties material from the mostly maladroit additions.
  23. Terminal
    What’s Terminal about? It’s about 90 minutes. That’s a cheap shot, but since the film doesn’t establish a baseline of reality, it’s hard to pick out a premise. It’s a series of playlets stitched together with the seams hanging out.
  24. Fantastic Four
    Given the level of talent involved both in front of and behind the camera, nobody should feel much joy — no anti-tentpole schadenfreude or blockbuster-busting righteousness — to discover that the latest Fantastic Four film is a catastrophe
  25. A Thousand Words
    His performance feels so disingenuous, so forced, that an otherwise perfectly acceptable high-concept comedy comes crashing down around him.
  26. Dolittle
    Dolittle is a calamity for the ages.
  27. The Choice
    By the time its finale rolls around, The Choice has completely undone its own spell.
  28. Borderlands
    This movie feels like it’s been shredded to bits, stripped clean of personality and character and coherence, presumably in an effort to get it short enough to sneak in some additional screening times.
  29. Madame Web
    Even Johnson has her limits, and Madame Web, one of Sony’s attempts to build out its own Spider-Verse, blows so far past them that you can practically guess which scenes were shot last based on the degree to which its star has given up.
  30. No Good Deed
    It’s certainly not good. But it’s not entirely dire.
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