New York Magazine (Vulture)'s Scores

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For 3,962 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: 2,221 out of 3962
  2. Mixed: 1,378 out of 3962
  3. Negative: 363 out of 3962
3962 movie reviews
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  1. The Gleaners & I
    There's a timelessness, an immanence to what she (Varda) shows us.
  2. Safe Conduct
    Spacious, headlong entertainment.
  3. A Gray State
    It’s intermittently successful, but even in its more meandering moments it is a gripping, almost unbearably dark watch.
  4. Blades of Glory
    I'm looking forward to buying Blades of Glory on DVD so I can get my head around the phenomenal skating routines. Obviously, there were wires and lifts and computer-generated effects, but for my money it looked like the lumbering Ferrell and nerdy Heder were Olympic-worthy stylists.
  5. Knife: The Attempted Murder of Salman Rushdie
    Knife deserves credit for more than just its compelling depiction of a horrific recent event. It artfully interweaves multiple threads from Rushdie’s life and career. The film works as a biography as well as an important history lesson.
  6. Juliet, Naked
    It’s everything a mainstream rom-com should be but no longer is — literate, unpredictable, full of bustling tangents.
  7. Grindhouse
    The fun is in the one-thing-after-another delirium the movie induces, and in our breathless anticipation of what they'll hurl at us next.
  8. Little Miss Sunshine
    Little Miss Sunshine is an enchanting anthem to loserdom -- a dark comedy that piles on setback after setback and yet never loses its helium.
  9. The Quake
    John Andreas Andersen’s The Quake, a sequel to the excellent 2015 Norwegian disaster film The Wave, should be required viewing for all of today’s Hollywood franchise jockeys. It shows you how to make one of these things without sacrificing your characters’ souls (or your own, for that matter).
  10. Beirut
    In Beirut, Hamm still doesn’t have the outsize personality we associate with major movie stars — a lot of whom are lesser actors. But he has focus. He can think onscreen. He can make you watch him closely, trying to keep up with the wheels churning in his head. I think he has fully arrived on the big screen.
  11. Operation Avalanche
    The earnest enthusiasm with which Operation Avalanche begins, and the paranoia and fear toward which it proceeds, chart the course of an entire nation.
  12. 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.
  13. Star Trek Beyond
    It’s better to have a well-made, unapologetic action-adventure like this one than a creepy stab at replication.
  14. The Lookout
    Frank's writing is razor-sharp, his filmmaking whistle-clean. As a fan of sharp razors and clean whistles, I enjoyed The Lookout--yet I did feel let down by the climax, which ought to have been blunter and messier and crazier and more cathartic.
  15. Thelma
    Thelma is both more mysterious and more accessible than his other films. The spell it casts transcends the silly plotting. It puts you in a zone all its own.
  16. The Town
    In The Town, he (Renner) doesn't signal that Jem is a sociopath... It's a deeply unnerving performance, beyond good or evil.
  17. Scottsboro: An American Tragedy
    The first full-scale documentary about the history of those years, and it lays out lucidly the involvement of the Communist Party in the young men's defense and the ways in which the trials, against the backdrop of the Depression, replayed the murderous quarrels of the Civil War all over again.
  18. Barb & Star Go to Vista Del Mar
    The comedy doesn’t build so much as it drones on, understated in form but preposterous in content. It wins us over not so much through belly laughs but by making us feel like we’re privy to a wonderfully bizarre in-joke.
    • 83 Metascore
    • 80 Critic Score
    Serpico
    Pacino's performance is bolstered by a screenplay and direction that respects the city-dweller's intelligence, that tells of an eleven-year experience with sophistication and temperance and resists endless opportunities for a wallow. [10 Dec 1973, p.93]
    • New York Magazine (Vulture)
  20. Frozen
    Frozen is one of the few recent films to capture that classic Disney spirit.
  21. The Duchess
    An uncommonly well-crafted historical feminist tearjerker--both anti-patriarchal and a monument to motherhood.
    • 57 Metascore
    • 80 Critic Score
    The Laughing Policeman
    Don't let the pre-title violence throw you; The Laughing Policeman stands as a solid, rewarding detective story. [24 Dec 1973, p.69]
    • New York Magazine (Vulture)
  23. Force Majeure
    Being a puckish Swedish, the writer-director Ruben Ostland slips into a tone that makes Force Majeure almost seem like a deadpan — frozen — comedy.
  24. Mother of Tears
    The first two thirds are gangbusters, with marauding bands of tarted-up young witches who look only slightly less scary than Lindsay Lohan and her pals on an average night.
  25. Osama
    Rarely has there been so obscenely precise a depiction of ravaged innocence. This young girl has nothing to live for--and an entire life ahead of her in which to live it.
  26. Christy
    Christy, which was directed by Animal Kingdom’s David Michôd from a script he wrote with his partner, Mirrah Foulkes, isn’t rote Oscar bait, and Sweeney isn’t doing the sort of studied showboating that so often comes with the territory.
  27. Killer Joe
    As splashy as Killer Joe is, it's also, beat by beat, meticulously orchestrated, with no shortcuts to the carnage. When it comes to mapping psychoses, Letts and Friedkin are diabolically single-minded cartographers.
  28. The Master
    If I seem cool, it might be because I came in hoping for the same level of blood-and-thunder as in the Evangelical scenes of "There Will Be Blood," whereas The Master is a cerebral experience. But Anderson has gone about exploring fundamental tensions in the American character with more discipline than I once thought him capable.
  29. Confidence
    By the end of the film, everybody has been triple- and quadruple- and even quintuple-crossed, but the characters still standing all seem to be very pleased with themselves for a job well done. If only we could figure out what the job was exactly.
  30. Crimson Peak
    It doesn’t always seem to know what it wants to be. But it’s still full of marvels.
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