New York Magazine (Vulture)'s Scores

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For 3,960 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: 2,219 out of 3960
  2. Mixed: 1,378 out of 3960
  3. Negative: 363 out of 3960
3960 movie reviews
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  1. La Chimera
    At times, it feels as though it has emerged — dusty, tattered, and beautiful — from the storied earth of Italy itself.
  2. Asphalt City
    There’s style and skill to spare in Asphalt City, but the movie also feels like a victim of the very numbness and emotional emptiness it seeks to expose.
  3. Wicked Little Letters
    Wicked Little Letters delights in its naughtiness, but it really should’ve embraced its perversion.
  4. Frida
    By the time the movie is over, we feel, perhaps for the first time, like we’ve gotten to know this legendary, almost mythical figure. Despite the tumult of her life and her singularity as both a person and an artist, this Frida seems downright familiar.
  5. Late Night with the Devil
    The cast makes Late Night With the Devil more than watchable, but they also raise our hopes for something better. While the talk-show approach makes perfect structural and narrative sense, it also drains the film of suspense, as we pretty much know where everything is going.
  6. Godzilla x Kong: The New Empire
    The kaiju of Godzilla x Kong: The New Empire don’t stand for anything but themselves. They’re just giant monsters that occasionally fight one another, which would be forgivable if the fighting in the movie weren’t so torpid.
  7. Shirley
    To damn by faint praise: Shirley is a perfectly serviceable film.
  8. Road House
    Despite the mercenary nature of its existence, Road House is better than it has any right to be — perfectly enjoyable schlock that’s helped along by how unserious it is.
  9. Ghostbusters: Frozen Empire
    The jokes are witless, the emotions artless, and the film joyless. At the same time, there’s also little to repel or offend, which, after all the truly idiotic culture-war battles fought over the Ghostbusters franchise, probably counts as a win. Maybe one day we’ll get an actual movie.
  10. Immaculate
    Mohan seduces us with form while the central performance engages us on a more elemental level.
  11. Do Not Expect Too Much From the End of the World
    Of the many things that make Do Not Expect Too Much From the End of World exhilarating, from its egalitarian mix of high and low references to its delightful profanity, what stands out is its willingness to acknowledge the general horror of modern existence, and then to suggest the only reasonable response is to laugh.
  12. Ryuichi Sakamoto | Opus
    A spare, lovely work directed by the late musician’s son, Neo Sora, Ryuichi Sakamoto: Opus is even more haunting on a big screen, where its shimmering black-and-white photography and elegant camera moves actually heighten the intimacy of the performance.
  13. Problemista
    The best parts of Problemista, which is a charming film without ever becoming more than semi-successful, bend the world through his perspective with the help of some Michel Gondry–esque DIY Surrealism.
  14. The Fall Guy
    There are many elements that make The Fall Guy enormous fun, but what makes it genuinely artful is the way that Leitch and his team (including writer Drew Pearce and stunt coordinator Chris O’Hara) have conceived the film’s stunts as extensions of the characters.
  15. Damsel
    More than a fantasy adventure, Damsel is a grisly and at times even touching tale of endurance and survival. It’s sweaty, snarly fun.
  16. Spaceman
    The film presents Jakub’s memories in such fragmented fashion that we can’t really piece together any kind of emotional through-line; we’re told about it, but we can’t really feel it, which renders the movie didactic and tedious.
  17. Dune: Part Two
    Villeneuve’s facility with this stuff doesn’t just come from his talent for spectacle, though there are set pieces in Dune: Part Two that aim to blow the top of your skull off.
  18. Drive-Away Dolls
    One senses this is a mundane story that’s trying to be something stranger and more buoyant — the film’s off-kilter sensibility keeps threatening to fade away, like it’s stuck at the tail end of a high.
  19. About Dry Grasses
    We walk away from the film with a dark empathy for these people, and for ourselves.
  20. 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.
  21. Bob Marley: One Love
    The result is a shallow picture book populated with cutouts where people should be.
  22. The Taste of Things
    Perhaps most importantly, The Taste of Things offers a perfect match between Hung’s artistic impulses and his subject matter.
  23. Lisa Frankenstein
    Lisa Frankenstein just doesn’t seem all that interested in what its main character is going through, which leaves it feeling lamentably flimsy, just a collection of references assembled around a hollow center.
  24. Under the Fig Trees
    Under the Fig Trees is a big-minded film that grounds its ideas about labor, sexism, faith, and modernity in the zippy rhythms of its characters’ negotiations around friendship, romance, and work. Most of the film’s runtime is people talking, but with evocative dialogue and lived-in performances from mostly first-time actors, it’s an unapologetic slice of life.
  25. How to Have Sex
    If it feels somewhat hazy and unsatisfying as a story, that is perhaps by design. Its fragmented, elliptical style has the quality of a dark, fragile memory.
  26. Argylle
    The more turns Jason Fuchs’s script takes, the more monotonous everything feels. And because Vaughn never drops his fantastical, cartoonish style, “reality” ceases to have any true meaning within the context of the film; he keeps trying to up the stakes even as what we’re watching becomes less and less consequential.
  27. The Greatest Night in Pop
    The anecdotes are mostly on brand for the musicians.
  28. Pictures of Ghosts
    Pictures of Ghosts is so lovely and alive that, if anything, it only reassures you that movies aren’t going anywhere.
  29. Will & Harper
    The film’s most powerful achievement is perhaps also its most basic: the simple sight of two friends talking, openly and gently, about all the things on their minds.
  30. A Real Pain
    The picture’s charming modesty is its great virtue; it’s a light movie with a heavy heart.
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