New York Magazine (Vulture)'s Scores

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For 3,956 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: 2,217 out of 3956
  2. Mixed: 1,376 out of 3956
  3. Negative: 363 out of 3956
3956 movie reviews
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  1. Joy Ride
    Watching the film is a reminder that the most boundary-pushing comedy isn’t about risqué content but a willingness to get uncomfortable and the confidence to assume audiences will join along in that journey. Joy Ride instead seeks out the warm fuzzies in a way that feels like a surrender.
  2. Bird Box Barcelona
    Writer-directors Àlex and David Pastor have come up with a tantalizingly evil idea, but they’re not cruel enough to see it through to its conclusion.
  3. Afire
    Seriousness does eventually descend on Afire like the check at the end of a meal, but until then the film, the latest feature from German filmmaker Christian Petzold, is a beguilingly funny affair about getting in your own way.
  4. Theater Camp
    Theater Camp really just wants to bask in the world it’s created, and it’s hard to complain about something being too affectionate.
  5. Nimona
    What makes Nimona so refreshing is that it doesn’t just plunk these characters onscreen as a contribution to the battered cause of representation — it also has something to say about them and their respective relationships with the status quo.
  6. Mission: Impossible – Dead Reckoning
    Whenever it gets down to the business of making Tom Cruise run and jump and drive and fly in and out of things, Dead Reckoning manages to astonish.
  7. Ruby Gillman, Teenage Kraken
    The look of Ruby Gillman has a TV-cartoon cheapness, but its frames are cluttered with all manner of objects and elements of odd design, almost as if the filmmakers hope we won’t notice how basic and uninspired everything looks.
  8. The Blackening
    The Blackening gets halfway there, and has the benefit of some gifted performers and some very good ideas. It just never really figures out how to be a movie.
  9. No Hard Feelings
    For all its breeziness, No Hard Feelings stays with you because its central dynamic feels so surprisingly honest.
  10. Flamin' Hot
    What makes Flamin’ Hot such a depressing offering isn’t the relative truthiness of its source material, but the qualities it holds aloft as inspiring.
  11. Transformers: Rise of the Beasts
    It’s not spectacular enough to impress us, nor intimate enough to move us. It’s just kind of there — ready to be consumed and forgotten.
  12. Elemental
    While Sohn has said Elemental was inspired by his parents, his upbringing in multicultural New York City, and his own mixed marriage, the lack of deeper consideration his film gives to its ideas leads to some ugly reductiveness.
  13. Past Lives
    There’s a disconcerting shrewdness underneath its patina of tastefulness — it’s too calculating to achieve the transcendent almost-romance it strives for but never inhabits.
  14. The Boogeyman
    In order for the film’s stylistic conceit to work, the protagonists need to pop more. We need to want them to break free of their grief and find ways out of the darkness.
  15. Spider-Man: Across the Spider-Verse
    Across the Spider-Verse looks incredible, even better than the groundbreaking first installment, but what’s truly impressive about it is how willing it is to entrust its storytelling to its animation.
  16. Reality
    Reality is filled with the sickening tension of a thriller, but it really plays like a tragedy, given that we already know what happened to its subject next.
  17. Perfect Days
    Your cousin could have written this movie. But maybe only Wenders could have directed it. He has the sensitivity to shoot the seesawing depths of Yakusho’s face. He has the eye to capture the elegant and diverse architecture of Tokyo’s public bathrooms.
  18. You Hurt My Feelings
    It’s warm and inveigling, but what it could use is a little more emotional ugliness.
  19. Kubi
    Kitano has conjured a universe of such incredible and casual nastiness that we yearn for some nobility and loyalty, or even some modicum of decency.
  20. Close Your Eyes
    Erice’s fourth feature is a stirring tale about memory, identity, and friendship, and it feels deeply, almost alarmingly personal.
  21. Monster
    By cutting things up and showing us the perils of fractured perspectives, the director, one of cinema’s great humanists, demonstrates that compassion is more than just a natural state of being; it’s a process that requires constant expansion of one’s field of vision.
  22. Asteroid City
    The audacity and beauty of Asteroid City lie in the way it connects the mysteries of the human heart to the secrets of science and the universe.
  23. The Zone of Interest
    In its own sly and subtly devastating way, The Zone of Interest pulls us into its circle of evil.
  24. May December
    The film is both humane and scathing. Which is why Haynes’s stylistic treatment of the subject, veering between noirish gusto and flights of snark, winds up being so touching.
  25. The Little Mermaid
    Bailey is, unfortunately, completely failed by the dull, misguided production around her. As the studio has done with other live-action remakes, Disney betrays its own lack of imagination and an essential misreading of what made its original children’s fare such a joy to audiences in the first place.
  26. 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.
  27. Fast X
    The film plays more like it was made by an AI versed in the existing movies but not quite up to spitting out something coherent itself.
  28. Master Gardener
    Master Gardener plays less like a thematic finale and more like the director is trying to exorcise himself of his perpetual idée fixe.
  29. The Night of the 12th
    Its real-world mysteries eventually become existential ones, but the film never stops sending chills up your spine.
  30. Indiana Jones and the Dial of Destiny
    The damn thing is fun. Mangold may not have the young Spielberg’s musical flair for extravagant action choreography (who does?), but he is a tougher, leaner director, using a tighter frame and keeping his camera close.
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