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. 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.
  2. Everything Everywhere All at Once
    Everything Everywhere All at Once may be a kaleidoscopic fantasy battle across space, time, genres, and emotions, but it’s an incredibly moving family drama first.
  3. Blue Valentine
    Blue Valentine leaves you with the shattering vision of its truest victim-the one who'll someday look for safety in places it might not be. And the psychodrama will go on and on …
  4. The Dissident
    Amid all these narrative threads Fogel occasionally loses sight of what should be the beating heart of this film: Khashoggi himself, who often comes through as an ill-defined figure with relatively ill-defined politics and views.
  5. Master and Commander: The Far Side of the World
    The director of "Gallipoli" and "The Year of Living Dangerously" has muffled the rage and darkness of his best work in favor of an antiquated pleasingness. Master and Commander is a too-comfy classic.
  6. Katyn
    It is filmed with simplicity, a purity of intent, and I wanted to watch the faces of these men in their last seconds of life--not for the sake of history, but because of Wajda's imperative to put his father's death onscreen. He needed to do this. And somehow, sanity is restored.
  7. Coming Home
    Coming Home works best on a more lived-in, emotional level. It presents a trajectory not uncommon in Zhang's films: a journey from howling passion to somber, almost tragic acceptance.
  8. Coco
    One of the films best visual treats are its alebrijes, the colorful fantastical creatures from Mexican folk art, rendered here as electrically colored lizards and gryphons that seem to pop off the screen even without the aid of 3-D.
  9. Bridge of Spies
    It’s Rylance who keeps Bridge of Spies standing. He gives a teeny, witty, fabulously non-emotive performance, every line musical and slightly ironic — the irony being his forthright refusal to deceive in a world founded on lies.
  10. Shaun the Sheep Movie
    Shaun the Sheep might look like an exciting, no-nonsense tale for little kids — and it totally is, on one level — but beneath its pitch-perfect simplicity lies great wisdom and beauty.
  11. The Station Agent
    A bit too satisfied with its own sweet sensitivities.
  12. Foxcatcher
    The movie’s take at times is fascinating. But it’s basically one long, sick joke played at half speed. It’s a ponderous, sick joke.
  13. Beginners
    Mike Mills's marvelously inventive romantic comedy Beginners is pickled in sadness, loss, and the belief that humans (especially when they mate) are stunted by their parents' buried secrets, their own genetic makeup, and our sometimes-sociopathic social norms.
  14. Bright Star
    Young Edie Martin, with her chaotic swarm of red ringlets and deadpan dutifulness (she has few lines, but they’re goodies), is the movie’s sign of eternal spring--the butterfly atop the just-opened blossom.
  15. The Headless Woman
    Guilt and alienation from Argentina’s Lucrecia Martel, so arty, enervated, and allegorical it might have been made by a European in the early sixties.
  16. Jackie
    Jackie is a hard movie to love, but its brittleness might be its most admirable quality.
  17. Weekend
    I hate to damage so fragile a work with overpraise, but, gay or straight, if you don't see yourself in this movie, you need to get a life.
    • 81 Metascore
    • 90 Critic Score
    Happiness
    A brilliant, disturbing, but unstable and half-crazy piece of work.
  19. Raw
    Raw is certainly nasty, but its gore is strategic and sparse. It is, however, a very stressful film to watch from beginning to end, even before the real feasting gets underway.
  20. Inherent Vice
    Like Pynchon’s novel, it’s a little insular, too cool for school. It’s drugged camp. Some of the plot points get lost in that ether — it’s actually less coherent than Pynchon, no small feat. It’s not shallow, though.
  21. Three Identical Strangers
    The director, Tim Wardle, has shaped the film as a detective story in which the more pieces of the puzzle are filled in, the more disgusted and infuriated we become.
  22. Revenge
    Revenge inverts the gutbucket revenge genre without transcending it. That said, why should men have all the fun? The movie is like Ladies’ Night at a sleaze-o bar.
  23. Tina
    Tina is sweeping, fascinating, and, because of Turner’s participation, deeply personal.
  24. American Fiction
    The literary world jabs are sharp and funny, but it’s the rueful family dynamics that make the film so rewarding, as well as the performances.
  25. 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.
  26. The Things You Kill
    It’s absorbing, suspenseful, and deeply moving — a case study in how to make an effective psychological thriller.
  27. Hot Fuzz
    Hot Fuzz is fun, and it's nice to see all the English character actors who aren't busy in Harry Potter films, but it lacks its predecessor's freshness.
  28. Django Unchained
    Django Unchained doesn't merely hit its marks; it blows them to bloody chunks. It's manna for mayhem mavens.
  29. A Girl Walks Home Alone at Night
    It’s wonderfully inventive filmmaking: Amirpour’s striking compositions borrow from the iconography of both the Western and the horror film — wide, evocative vistas are intercut with dark, tense city streets where shadowy figures follow one another.
  30. Us
    As a horror buff, I hate to admit it, but Peele’s attachment to creaky genre tropes is already starting to hold him back. The good news is that he’s more than halfway to creating his own syntax, his own means for illuminating the sunken places of the world. I have a feeling there will be miraculous excavations to come.
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