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. American Honey
    If you think LaBeouf is a joke, you need to see him here. There’s wildness there, but acting centers him. He’s magnetizing.
  2. September 5
    Tight as a drum and almost nauseatingly suspenseful, Tim Fehlbaum’s September 5 presents an unexpected angle on a familiar event.
  3. The Babadook
    This is Kent’s first feature — an astonishing debut. Not perfect, though.
  4. Starred Up
    Starred Up is an edgy, teeming thriller, brilliantly disorienting, making strange a world we thought we knew, at least from other movies.
  5. Fish Tank
    Arnold's first feature, "Red Road" (2006), centers on another outsider, a woman who monitors security cameras. The film is formally brilliant, but it doesn't have the breathtaking openness of Fish Tank.
  6. Waiting for 'Superman'
    This is one of the most galvanizing documentaries I've ever seen.
  7. A Very Long Engagement
    When this long movie is over, all you want to do is clap and weep and watch it all over again immediately.
  8. Two Prosecutors
    What distinguishes Two Prosecutors is not its overall narrative trajectory (which reads more like a bitter cosmic joke than anything else) but rather how Loznitsa subtly colors in Kornyev’s journey through the halls of power.
  9. Fantastic Mr. Fox
    Endlessly enchanting.
  10. American Splendor
    It would be a mistake to regard American Splendor as an anthem for the common man. It is the UNCOMMON that is being celebrated here.
  11. Misericordia
    Alain Guiraudie’s Misericordia is an existential drama masquerading as a comedy masquerading as a thriller.
  12. The Armor of Light
    Far beyond the courage of its convictions, The Armor of Light also has the intelligence and grace to embrace its contradictions. It’s a beautiful, conflicted piece of work.
  13. Results
    With this cast, and such a vivid sense of play, Results manages, in its own subtle, unassuming way, to reinvent the rom-com. It’s enchanting.
  14. Belle
    As is often the case with Hosoda, it’s the extracurricular details that make his work so moving, the textures of the everyday lives of his characters that become something larger and more profound when placed in contrast to the genre elements at the center of his story.
  15. Compartment No. 6
    There’s nothing particularly surprising about the story, but Finnish director Juho Kuosmanen finds a way to make an old tale feel new.
  16. Little Men
    The power of Little Men is in how the characters resist the melodramatic flow (which is, come to think of it, how Chekhov works, too).
  17. Becoming Cousteau
    In restoring Cousteau’s human side, Becoming Cousteau shows us both his brilliance and his shortcomings, and it suggests that these extremes were fundamentally connected. He was soft-spoken and modest on the surface yet consumed by an ambition that was driven as much by his remorse as by his vision.
  18. Phoenix
    A haunting, morbidly romantic melodrama with obvious links to "Vertigo," but from a reverse angle.
  19. Buena Vista Social Club
    I've never seen another movie that so clearly expresses the sensual sustenance that great folk culture provides its practitioners.
  20. West Side Story
    Whether this new picture is a masterpiece, or a masterful reimagining of a troublesome original, will have to remain in the eye of the beholder.
  21. Blonde
    Blonde is beautiful, mesmerizing, and, at times, deeply moving. But it’s also alienating — again, by design — constantly turning the camera on the viewer, sometimes with Marilyn directly addressing it. That’s going to be a tough sell, especially for a film that’s so nonlinear and elliptical.
  22. The Great Beauty
    The Great Beauty is a subtly daring cinematic high-wire act — an entire film built around one character’s unrealized, unspecified yearning. And it might just be the most unforgettable film of the year.
  23. On the Record
    In concert, they paint an intricate portrait of women forced to navigate the whims of men in a patriarchal culture that refuses to listen, let alone believe the voices of survivors — most pointedly, of black survivors, the documentary reminds us. In that vein, despite its faults, On the Record is a necessary social document.
  24. Bright Leaves
    While making his new film, he (McElwee) imagines that his boy is looking back at his screen image from some distant point in the future, when McElwee himself is gone. No child of a moviemaker could ask for a more beautiful bequest.
  25. Superman
    There’s a lot about how we complicate and obfuscate what should be obvious goods, such as saving the lives of children. But the film’s approach isn’t ham-fisted, and it makes room for gleefully fun stuff, too.
  26. Femme
    Sex can be a rigid rubric of performance for some and a fluid experiment in expression for others. The friction between those two perspectives fascinates Femme, a volatile, sensuous revenge film in which the body and its desires don’t lie.
  27. Phantom Thread
    We’re not so much watching Woodcock the rarefied designer as Day-Lewis the rarefied actor, his immersion so uncanny that he can illuminate a soul at once titanic and stunted.
  28. Inside Job
    As he proved in his Iraq-centered "No End in Sight," policy wonk turned documentarian Charles Ferguson has no peer when it comes to tracking the course of a preventable catastrophe.
  29. The Hand of God
    With previous films like the Oscar-winning Great Beauty and the politically charged biopics Il Divo and Loro, Sorrentino indulged his fondness for boisterous, bunga-bunga stylization. He is contemporary cinema’s mad poet of unchecked hedonism. But he holds himself back this time around. The Hand of God isn’t realistic or gritty (or, God forbid, subtle), but it is more subdued.
  30. Tina
    Tina is sweeping, fascinating, and, because of Turner’s participation, deeply personal.
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