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. It Was Just an Accident
    It Was Just an Accident plays like an ideal melding of the filmmaker Panahi was and the filmmaker he’s been forced to become. It’s an endlessly fascinating and extraordinarily powerful work.
  2. One Battle After Another
    It sprawls across genres and tones and defiantly refuses to anchor itself to a single character.
  3. The Triplets of Belleville
    The most joyously cinematic movie I've seen this year. Chomet's astonishing imagination conjures images you could swear you've seen in your dreams.
  4. The Lord of the Rings: The Return of the King
    Jackson is rare among the makers of epic movies in that he knows how to do the small stuff, too. The Return of the King has “heart”--how else could it pump out all that blood?
  5. The Cove
    The end of The Cove is as rousing as anything from Hollywood. Manipulative? Sure--but isn't that fitting? Capitalism has driven an entire village to massacre dolphins and keep its work hidden.
  6. Good Time
    For all its throttling thrills, Good Time is a film about a destructive love — and loving someone despite not having the right kind of love to give them. Ignore the deceptively convivial title: This is the kind of thrill that sticks.
  7. The Tale of The Princess Kaguya
    Magical and melancholy, The Tale of Princess Kaguya comes from the other mad genius of Studio Ghibli, Isao Takahata, who co-founded the beloved Japanese animation company alongside the great Hayao Miyazaki back in 1985.
    • 80 Metascore
    • 100 Critic Score
    Much Ado About Nothing
    Much Ado About Nothing is one of the few movies of recent years that could leave its audiences weeping with joy. [May 10, 1993, p.62]
    • New York Magazine (Vulture)
  9. Gosford Park
    A love affair between performer and filmmaker. The director shows off his ardor by eliciting from his actors aspects of their gifts that they themselves may not have known they had.
  10. The Big Short
    The best film of the year? Possibly …
  11. Dolemite Is My Name
    Dolemite Is My Name has the glee of a John Waters movie in which it’s freaks-versus-squares, with freakishness the only healthy design for living.
  12. Pain and Glory
    Pain and Glory is at once the gentlest and most emotionally naked movie Pedro Almodóvar has ever made.
  13. The Last Waltz
    No other concert film has ever expressed so fervently the erotic root of rock. Seeing it is the opposite of taking a trip down memory lane; it's more like a plunge into the belly of the beast.
  14. The Wizard of the Kremlin
    I found its thundering journey through several decades of recent Russian and world history revealing and (perhaps more importantly) enormously entertaining. And by utilizing Law’s charisma to approximate Putin’s anti-charisma, it gives us a villain who is chilling and believable. I can’t wait to see it again.
  15. Indignation
    Schamus is the former head of Focus Features, and seeing how he directs (this is his debut, though he has been Ang Lee’s collaborator for decades), I suspect he chose the company’s name. His vision is 20/20 plus.
  16. The Order
    Law and Hoult’s differing energies turn the film into something more than a mere crime drama; it begins to feel like an eternal struggle with existential, civilizational consequences. This is an unforgettable movie.
  17. First Cow
    This haunting movie transports you to another world — and redefines home.
  18. Hamnet
    Hamnet is devastating, maybe the most emotionally shattering movie I’ve seen in years.
  19. 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.
  20. Listen to Me Marlon
    Stevan Riley’s Listen to Me Marlon is the greatest, most searching documentary of an actor ever put on film, and it’s no coincidence that it’s about film’s greatest and most searching actor.
  21. Close Your Eyes
    Erice’s fourth feature is a stirring tale about memory, identity, and friendship, and it feels deeply, almost alarmingly personal.
  22. Welcome to Leith
    Welcome to Leith is a sober, terrifying look at the very real monsters roaming the quiet countryside.
  23. Armageddon Time
    By letting the picture embody his failures — by turning Armageddon Time into a self-aware look at his own limitations — the director makes that necessary connection between then and now, between the characters onscreen and us watching. In other words, he denies us the one thing these types of movies almost always provide: reassurance.
  24. The Diving Bell and the Butterfly
    The film is a masterpiece in which “locked-in” syndrome becomes the human condition.
  25. Athena
    Its subject is timely but its presentation is timeless — it’s a war movie, a family drama, a Greek tragedy.
  26. James White
    James White looks like a simple film on its surface.... But despite the vérité-influenced stylization, writer-director Mond (whose own struggle with loss likely inspired some of this story) doesn’t seem too interested in realism or grit.
  27. Finding Nemo
    It has what the most heartfelt Disney animated features used to have: rapturous imagery matched with real wit.
  28. Time Out
    A hushed, small-scale masterpiece that moves into the shadowlands of tragedy.
  29. Return to Seoul
    Freddie is a live wire given form, flesh, sinew. She’s a woman defined by what she refuses to be, and Chou appropriately refuses to offer any heartwarming, simple resolutions to the dilemmas marking her life.
  30. Of Men and War
    Of Men and War’s compassion is matched only by its relentlessness.
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