New York Magazine (Vulture)'s Scores

Select another publication »
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
view
per page
  1. Bad Education
    May be at once too gimmicky and too sincere. But it still exerts an uncanny power: Like the best of Almodóvar’s work, it throws you a first-love sucker punch that will stagger your heart, mind, and soul.
  2. The Voice of Hind Rajab
    Aware of the raw, incendiary power of her subject matter, Ben Hania doesn’t sensationalize this story, keeping the action fixed entirely in the call center itself, with actors portraying the dispatchers on the line.
  3. The Mitchells vs. The Machines
    Purposefully aggravating yet still beautiful, The Mitchells vs. the Machines is both a takedown and a celebration of our dissonant, tech-obsessed world. It gets us.
  4. Silver Linings Playbook
    It's Lawrence who knocked me sideways. I loved her in "Winter's Bone" and "The Hunger Games" but she's very young - I didn't think she had this kind of deep-toned, layered weirdness in her.
  5. Buena Vista Social Club
    I've never seen another movie that so clearly expresses the sensual sustenance that great folk culture provides its practitioners.
  6. Elaine Stritch: Shoot Me
    Elaine Stritch: Shoot Me is one of those showbiz docs that’s not exactly pleasurable but offers a penetrating glimpse — sometimes too penetrating — into what it means to eat, drink, and be contrary in the public sphere.
  7. Waiting for 'Superman'
    This is one of the most galvanizing documentaries I've ever seen.
  8. A Thousand and One
    A Thousand and One is rich and complex overall, the saga of someone battling to build a family and a stable home with no real experience of what that looks like.
  9. 28 Years Later: The Bone Temple
    The beauty of DaCosta’s film is that these particular ideas are worked in subtly, even though The Bone Temple itself is not what one might call subtle. In fact, it’s downright looney tunes.
  10. Encounters at the End of the World
    Midway through, an eerier theme creeps in, all the more powerful for Herzog's lack of insistence. By the "end of the world" he means the end of the world.
  11. Waves
    They don’t feel like black characters grafted onto roles that were initially conceived of as white, but they don’t always feel entirely formed either, an impression that’s not helped by the choice to keep the siblings in largely separated narratives.
  12. The Martian
    The Martian is shot, designed, computer-generated, and scripted on a level that makes most films of its ilk look slipshod. Scott and writer Drew Goddard aren’t trying to make an “important” sci-fi movie like Interstellar. They aim lower but blow past their marks.
  13. Preparation for the Next Life
    The adaptation frames the relationship it depicts less as a romance than as the intersection of two individuals in their own moments of transition. It’s a much better movie for it, though I’d guess that one of the reasons it’s getting such a quiet release is that it’s not a desperate melodrama about people trying to save each other.
  14. Wake Up Dead Man: A Knives Out Mystery
    The franchise has always centered Blanc as the champion of the underserved, but in leaning away from his shenanigans and slapstick and making space for someone like Father Jud to illustrate the film’s worldview, Wake Up Dead Man shows how much it has on its mind.
  15. The Testament of Ann Lee
    Ultimately, the director leaves us with more questions than answers. Which is probably what art should always strive to do.
  16. X
    Like most of West’s films, X is not particularly ambitious in its psychology or storytelling. It’s his technique that makes his work feel like it has one foot in the arthouse, with its elegant compositions and the way the camera moves as though daring us to see something the characters have yet to spot.
  17. The Wrestler
    The movie isn't as world-shattering as those bouts: It's a regretful-old-warrior weeper.
  18. The Hours
    If all three of the women’s lives had come across with equal weight and artistry, the film, which glides back and forth among them, might have approached the symphonic. But only the Streep section truly inspires the kind of awe and terror that the film as a whole strives for.
  19. Marcel the Shell with Shoes On
    Marcel the Shell With Shoes On is the most unassuming and delicate of movies, but don’t be shocked if it leaves you in ruins.
  20. The Secret in Their Eyes
    It’s a cop movie that’s largely uninterested in cops, crimes, or criminals. And yet, despite all that, the film is at times an effective, evocative mood piece. The funereal pall of sorrow that hangs over everything these characters do has a strange, surprising pull.
  21. 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.
  22. Food, Inc.
    The sheer scale of the movie is mind-blowing--it touches on every aspect of modern life. It's the documentary equivalent of "The Matrix": It shows us how we're living in a simulacrum, fed by machines run by larger machines with names like Monsanto, Perdue, Tyson, and the handful of other corporations that make everything.
  23. Everlasting Moments
    Troell’s entrancingly beautiful Everlasting Moments uses surfaces--light, texture, faces--to hint at another world, a shadow realm.
  24. The Mastermind
    Like so much of Reichardt’s output, The Mastermind feels modest when you’re watching it and downright brilliant once it’s had some time to settle in your mind.
  25. 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.
  26. Central Station
    In this otherwise rather schematic swatch of social catharsis, Brazil's Fernanda Montenegro gives the best performance by an actress I've seen all year.
  27. Passages
    Tomas is the film’s most captivating element as well as its limiting factor because it’s only possible to bear so much time in his company. It’s a testament to Rogowski’s performance that Tomas’s appeal remains apparent despite his behavior, that his gravitational pull is understandable even as you long for the others to escape it.
  28. The Queen of Versailles
    For Greenfield, the Siegels are a brilliant metaphor for everything farkakte about the U.S. economy and the culture that shaped it.
  29. Theeb
    The film remains grounded in the elemental, the practical, and the real. That’s not to say it isn't beautiful.
  30. Incendies
    The movie doesn't quite jell, but you'll feel its sting for hours.
Page:

Top Trailers

See all »
See all trailers »