New York Magazine (Vulture)'s Scores

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For 3,970 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 0.6 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: 2,225 out of 3970
  2. Mixed: 1,381 out of 3970
  3. Negative: 364 out of 3970
3970 movie reviews
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  1. Yes
    Yes! becomes an anguished film, though that eventuality isn’t as nauseatingly propulsive as its first chapter, which is such a caustic depiction of cognitive dissonance that it stings to watch.
  2. Sorry We Missed You
    Well-researched and highly detailed in how it lays bare the empty promises of the gig economy and the ruthless techno-feudalism of e-commerce, Sorry We Missed You is a movie that will infuriate you. But what makes it one of Loach’s best isn’t just its rage (which is plentiful) but its compassion (which is overwhelming).
  3. The Betrayal - Nerakhoon
    The film is lyrical, expansive, unbearably beautiful.
  4. Sexy Beast
    A flashy, nasty triumph
  5. The Irishman
    For Scorsese, the slowing-down in The Irishman is radical, and it pays off in the long series of final scenes in which the characters are too old to move as they once did. They can’t hide inside motion, and so Scorsese doesn’t — and the upshot is one of his most satisfying films in decades.
  6. Those Who Wish Me Dead
    The neo-Western inflected work is a lean, engrossing, action-packed shot of adrenaline that is striking in its aesthetic decisions and boasts some exceedingly fun turns from its actors. Most important, it proves once more why Jolie is a star.
  7. Diane
    The opening of Diane is simple but packed, like the movie: The more mundane the details, the more redolent it is of time going by too fast. Someone I know called it the most depressing film she’d ever seen. I found it one of the most exhilarating, but I admit that the exhilaration is hard-won and slightly perverse.
  8. The King and the Mockingbird
    A truly strange, wondrous beast. It has the playful humor and charm of a children’s movie, but its design is dark and unsettling.
  9. Blue Is the Warmest Color
    The movie goes on for three hours without an emotional letup — it’s finally overwhelming.
  10. Sentimental Value
    Reinsve, with that phenomenally open, oval face, does an unreal job of transmitting emotions that Nora is barely aware that she’s feeling. Skarsgård is at turns infuriating, charming, and pitiable as an aging artist filled with regret, but also too stubborn to yield.
  11. To a Land Unknown
    To a Land Unknown presents the cousins’ ordeal as something no person should have to go through, something unnatural and surreal and Kafkaesque. But there’s also a creeping devastation in how the film convinces us of their pain and of all the opportunities and chances that were stolen from them through statelessness.
  12. Only Lovers Left Alive
    Do I detect a note of self-satire in Jarmusch’s undead? I’d like to think he’s poking fun at his own stylized, white-boy cool. But underneath, of course, he’s deadly serious. A ruined metropolis, a snatch of dialogue about coming water wars, a poisoned blood supply: The garden of Adam and Eve is despoiled beyond remedy. This is a charming dirge, though.
  13. Traveling Light
    The movie gathers force as it proceeds and delivers one final shock toward the end. It’s not a twist, exactly, but rather a development that makes you reconsider what you’ve just seen — suggesting that those who sometimes seem to care the least about the world are, secretly, the ones most overwhelmed by it.
    • 77 Metascore
    • 90 Critic Score
    Sleeper
    In his fourth movie, Allen comes into his own as a filmmaker, providing us with the comedy of the year.
  15. Fjord
    Mungiu has a lot more on his mind than tepidly insisting both sides can be bad. For all the political pole reversal that happens in Fjord, the movie stealthily argues what’s really going on here is that old standards about assimilation and cultural uniformity have just been given a socially acceptable gloss.
  16. Cold War
    Pawlikowski understands the mythic, destructive pull such narratives have on us — as audience members and those swept up ourselves.
  17. Democrats
    It truly is a movie about politics, and it’s among the more mesmerizing ones you’ll see — even if you know very little about Zimbabwe itself.
  18. The Immigrant
    It’s richer than anything onscreen right now. It’s worth the pain.
  19. Restrepo
    The film is a nearly unrelenting nightmare. Even interviews shot with the survivors after the fact have a current of dread.
  20. Lost in Translation
    Coppola both wrote and directed, and there’s a pleasing shapelessness to her scenes. She accomplishes the difficult feat of showing people being bored out of their skulls in such a way that we are never bored watching them.
  21. The Personal History of David Copperfield
    There’s a resilient buoyancy running through The Personal History of David Copperfield that proves irresistibly moving by the end of its journey. Its protagonist weathers hardships and cruelties in addition to benefiting from acts of kindness, and yet he never loses his capacity to be fascinated by people, a quality that’s comforting without feeling cloying.
  22. Anselm
    The way he films Kiefer, Wenders finds more drama in gestures such as these than he might in biographical detail. This is art that dares to live in the world, and Anselm is itself a wonderfully alive work.
  23. Beyond the Lights
    Beyond the Lights is a deft, gorgeous movie. For all its honesty, it’s never slow, and for all its criticism of the music industry, it’s never finger-wagging.
  24. Killers of the Flower Moon
    For all its extravagant running time (three hours and 26 minutes!), its big-swing history lessons, and its tale of an Old West giving way to the regimentation of a modern police force, Killers of the Flower Moon turns out to be that simplest and slipperiest of things: the story of a marriage. And a twisted, tragic one at that.
  25. Revolutionary Road
    There isn't a banal moment in Winslet's performance--not a gesture, not a word. Is Winslet now the best English-speaking film actress of her generation? I think so.
  26. 8 Mile
    What it's really about is the euphoria that talent can bring to those who are possessed by it. That euphoria lights up the screen.
  27. Civil War
    What makes Alex Garland’s Civil War so diabolically clever is the way that it both revels in and abhors our fascination with the idea of America as a battlefield.
  28. Synonyms
    That’s part of the beauty of this film: It games out very real, very human impulses to their surreal breaking points, only to uncover even greater truths.
    • 69 Metascore
    • 90 Critic Score
    The Opposite of Sex
    Dedee is a great, entertaining caricature, an updated teen version of a forties-noir seductress and murderess -- Lana Turner without corsets... Ricci possesses a devastating way with a nasty line; she could curdle mother's milk from 30 paces.
  30. Madeline's Madeline
    Thrillingly confounding.
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