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. Trophy
    Nothing in Trophy shakes out neatly, because everyone onscreen has his or her own set of values and every value is in conflict. The movie is richer in every way for its tangled sympathies. It will leave you angry, sick, and confused — but not smug. Never smug.
  2. Incredibles 2
    Brad Bird’s The Incredibles 2 is, much like its predecessor, delightful as an animated feature but really, really delightful as a superhero picture. It’s proof that someone (not anyone, mainly Bird) can make a Marvel-type movie that’s fleet and shapely, with action sequences rich in style rather than tumult.
  3. Casino Royale
    This Bond is haunted, not yet housebroken, still figuring out the persona. In Casino Royale, the reset button has been pressed in the manner of "Batman Begins."
    • 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)
  5. Ad Astra
    James Gray’s space opera Ad Astra is so eerily, transfixingly beautiful that I want to purge from my mind its resolution.
  6. Love & Mercy
    Director Bill Pohlad (working with frequent Wes Anderson cinematographer Robert Yeoman) is extraordinarily sensitive to the amorphous nature of Wilson’s life and art, and Atticus Ross’s score creates a floating, evocative soundscape, which is Brian Wilson–esque without a trace of plagiarism.
  7. Costa Brava, Lebanon
    Akl and Clara Roqet’s script provides depth to these characters and immerses us in each of their perspectives and relationships — which shift along lines of blood and love.
  8. 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.
  9. You Hurt My Feelings
    It’s warm and inveigling, but what it could use is a little more emotional ugliness.
  10. True Grit
    True Grit isn't as momentous an event as you might hope, but once you adjust to its deliberate rhythms (it starts slowly), it's a charming, deadpan Western comedy.
  11. A Hidden Life
    We shouldn’t be so smug as to assume that we would always know the right thing to do, or even be brave enough to do it, Malick seems to say. A true act of resistance should crack our universe open.
  12. The Meyerowitz Stories (New and Selected)
    It’s incredible what a difference 12 years makes: Baumbach is an altogether more generous and insightful filmmaker here than he was the last time he told this story.
  13. I Wish
    Koreeda's compositions have a sympathetic detachment that Americans rarely value but is, for many Japanese, the whole point of art. That means you can contemplate the wonder in these glowing young faces without feeling as if you're on an intravenous drip of corn syrup.
  14. Star Wars: Episode VII - The Force Awakens
    The movie has already blown away advance-sale records, and when you go (which, of course, you will) I bet you’ll have fun — I did, mostly. But it’s the fun of seeing something fairly successfully redone, with the promise of more of the same to come.
  15. Last Men in Aleppo
    You should — you must — see Last Men in Aleppo to witness an ongoing tragedy. But you should also see it to learn humility. We — meaning Americans — ain’t seen nothin’. Yet.
  16. Spellbound
    Entertaining documentary.
  17. Union
    Union is a rare thing — a documentary that is undeniably political in its focus while being artful and observational in its approach.
  18. Going Clear: Scientology and the Prison of Belief
    Gibney’s a bit like a kid in an exposé-candy store here, and you can sense him trying to cram as much as he can into the film. Good for him: Going Clear is jaw-dropping. You wouldn’t really want it any other way.
  19. White God
    Árpád Halász is the credited “animal trainer for 280 dogs,” Teresa Ann Miller the handler of Bodie and Luke — better actors than half this year’s Academy Award nominees. This is the new gold standard for nature-bites-back movies.
  20. Lean on Pete
    There’s a lopsided quality to Lean on Pete that will particularly destabilize viewers (like myself) who are unfamiliar with Vlautin’s book. It has three distinct acts, and the last one feels like a very different movie indeed — its turn of events aren’t implausible, it just feels like they keep going well past the logical finish line.
  21. Bergman Island
    In its glimpse into the lives of partnered-up fictional directors, Bergman Island invites its viewer to guess how much it’s a reflection of Hansen-Løve’s actual relationship, while also acknowledging the gap between the art someone makes and the person they are.
  22. Barbie
    There’s a streak of defensiveness to Barbie, as though it’s trying to anticipate and acknowledge any critiques lodged against it before they’re made, which renders it emotionally inert despite the efforts at wackiness.
  23. Minority Report
    One of the glummest and most forbidding thrillers ever.
  24. Wild Rose
    The final sequence dodges (or elides) many of the movie’s central logistical dilemmas, but the song (“Glasgow,” written by Mary Steenburgen, Caitlyn Smith, and Kate York) and the performance are so rousing it almost doesn’t matter. Like the best country music, the movie finds its own kind of truth.
  25. The Simpsons Movie
    It’s intermittently very funny. But it doesn’t make the existential leap to the big screen, and it doesn’t have the density of gags or the lunatic free-association of the best episodes.
  26. Finders Keepers
    It’s a tale of class privilege gone wrong, the relentless hunger for fame, stoic mourning and submerged family neuroses, and the crazy contortions caused by money and ownership. In 82 svelte minutes, Finders Keepers encapsulates something ineffable about the modern American experience.
  27. Room 237
    As amusing as the movie is, I think in the end that Ascher misses the labyrinth for the trees.
  28. The Beast
    It overflows with intriguing ideas, even if they aren’t all fully explored.
  29. Lady Chatterley
    I found the first half-hour a snooze, but once I adjusted to the movie's rhythms, I was completely enraptured. Ferran weaves the love affair into nature, but not in the mystical, sanctified manner of Ang Lee's "Brokeback Mountain."
  30. A Beautiful Day in the Neighborhood
    I actually liked about two-thirds of A Beautiful Day in the Neighborhood; I got impatient when Mister Rogers receded into the background and the film turned full-time to solving the problems of Lloyd Vogel, who’s based on the magazine writer Tom Junod.
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