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. Late Marriage
    So intimate and sensual and funny and psychologically self-revealing that it makes most of what passes for sex in the movies look like cheap hysterics.
  2. Concert for George
    The jamboree is beautifully shot and directed, by Chris Menges and David Leland respectively, and there is a haunting touch: the presence of George’s son, Dhani, on guitar, looking near-identical to his dad in his twenties.
  3. Madeline's Madeline
    Thrillingly confounding.
  4. Secret Mall Apartment
    These are the intriguing ideas at work in Secret Mall Apartment, but the film works as a movie thanks to the sly way it’s been put together.
  5. Captain Phillips
    It’s when the Somalis spirit Phillips away in a closed lifeboat that Captain Phillips becomes a great thriller, in part because Barry Ackroyd’s camera is stuck inside with the characters and its jitters finally seem earned.
  6. The Climb
    The scene that kicks off The Climb is by far the best thing in the entire movie, but don’t hold that against the picture — the rest of it is pretty great, too.
  7. A Hero
    As further demonstration of the director’s already impressive ability to build stomach-gnawing suspense out of everyday interactions, the movie is well worth seeing. But it also represents a step back in some ways. Farhadi is one of the world’s great filmmakers, but the generosity of spirit that was so pivotal to his earlier work seems to be in retreat in his latest.
  8. The Northman
    The Northman doesn’t invite its viewers into its world, but instead dares them to try to catch up.
  9. Stranger by the Lake
    The mystery may be resolved, but the suspense and uncertainty remain. And so, Guiraudie ends his film on a cold, almost cruel note of existential solitude that just might, if you let it, break your heart.
  10. The Stranger
    The Stranger, it turns out, is a story for our times, which makes this lovely new version doubly welcome.
  11. The Maid
    At its midpoint, the film could go either way: toward "The Hand That Rocks the Cradle" psychosis or something more hopeful and humanistic. It’s a testament to Saavedra’s tough performance that even with a happy ending, you wouldn’t want to leave her with your kids.
  12. Sicario
    What keeps Sicario from cynicism is the nature and depth of Villeneuve’s gaze, not childishly wide-eyed but capable still of feeling pain. He’s a terrific director. You know that if his heroine, Alice, gets out of Cartel-land alive, she might spend a few months in an asylum, but she’ll be back, hell-bent on seizing the foreground.
  13. Another Year
    Another year, another Mike Leigh gem.
  14. Blade Runner 2049
    There’s nothing close to the shock of seeing Blade Runner’s Tokyo-influenced futuristic dystopia — a dismal mix of high-tech and corrosion — for the first time. I thought it was okay.
  15. Step
    There are many films that attempt to illuminate the world through pain, but Step is most instructive in its moments of joy.
  16. Experimenter
    Experimenter is busily, thrillingly reflective. Its artificiality makes it seem even more alive, more in the present tense.
  17. Eden
    I can’t help thinking the movie’s amorphousness would have worked better with a more definite actor — someone who didn’t disappear so fully into the scene. Eden has a remarkable orbit, but it spins around a void.
  18. A Mighty Wind
    Achingly funny movie...Guest has cultivated a stock company of players whose work together is so intuitively sharp that it seems to redefine the boundaries of acting.
  19. The Damned United
    More Eurocentric but quite enjoyable, even for those of us who don’t follow British “football.”
  20. Western
    A culture clash defined by an incredibly strong first-time performance, it’s continually more emotionally surprising than its dry packaging lets on.
  21. 13th
    In the main 13th makes connections that haven’t been made in a mainstream documentary before.
  22. The History of Concrete
    The result is scruffily endearing, though it teeters on the verge of collapse at times, as the pretense that what’s unfolding onscreen is all a serendipitous journey gets stretched to the breaking point.
  23. Arrival
    Why did Villeneuve and the screenwriter, Eric Heisserer, let the grade-B military melodrama run away with the story?
  24. Juno
    It’s the writer, Diablo Cody, and the director, Jason Reitman, who have screws loose. Or maybe they’re just desperate to make their film a chick "Rushmore" or "Garden State."
  25. Weapons
    Is Weapons scary? It certainly has its moments, and the oblique structure enhances the gathering dread. But more than anything, it’s a twisty-turny hoot.
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