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. Damsel
    I was alternately delighted and irritated, though mostly a very happy camper.
  2. CODA
    While a little sentimentality never hurt anyone, what stands out when revisiting CODA outside the festival bubble are the parts that feel unguided by formula, all of which have to do with the dynamics of the Rossi family.
  3. Won't You Be My Neighbor?
    A wonderful breather from reality, from which you come back more conscious of — and dismayed by — the hate that more than ever runs the world.
  4. The Last Duel
    The Last Duel is full of incident and historical detail, and its universe is a complicated one — but it seems the script, by its very nature, has ingeniously done all the necessary underlining for us. Even as it pretends to add complexity and context, it simplifies and focuses.
  5. Put Your Soul on Your Hand and Walk
    Put Your Soul on Your Hand and Walk is a film born of helplessness, about helplessness, and it embodies helplessness through its very form.
  6. Oppenheimer
    Oppenheimer is a movie so sprawling it’s difficult to contend with. It’s rich, uncompromising, and borderline unwieldy, but more than anything, it’s a tragedy of operatic grandeur despite so many of its scenes consisting of men talking in rooms.
  7. 3 Backyards
    The movie has none of the smugness of "­American Beauty": You could dream of living in a world like this.
  8. The Guys
    A hushed and powerful piece.
  9. Volver
    Before it loses its fizz--maybe two thirds of the way through--Volver offers the headiest pleasures imaginable.
  10. Your Name.
    Perhaps a less uplifting ending may have seemed more honest. But Shinkai’s a romantic at heart, and it’s infectious. By the end, you just want these two crazy kids to get together, no matter whose bodies they’re in.
  11. Eileen
    Eileen may ultimately be a little thin, but it’s a bracing watch, powered not just by its two main performances but also by Ireland in that small but powerful role as a wretched enabler.
  12. Ambulance
    Ambulance, the latest from director Michael Bay, is a film powered by the jittery force of will and blissful confidence that comes with doing cocaine. Lots of cocaine.
  13. Night Comes On
    Though slow, it’s intense, and you’re hooked from its first scene — Angel’s final meeting with the detention authorities — to its last, wrenching image. Spiro is a real filmmaker.
    • 77 Metascore
    • 80 Critic Score
    The Autobiography of Miss Jane Pittman
    Pittman's director, producer, and star have their hearts in movies, but they've made a TV film to be long remembered. [28 Jan 1974, p.58]
    • New York Magazine (Vulture)
  15. Bye Bye Tiberias
    The documentary may be understated, with its long dialogue-free stretches. But the distractions that pull Abbass’s stare away from her daughter’s lens give Bye Bye Tiberias a pointedly political backbone that the documentary buoys with clever editing and a tangible self-assuredness.
  16. The Host
    The Host packs a lot into its two tumultuous hours: lyrically disgusting special effects, hair-raising chases, outlandish political satire, and best of all, a dysfunctional-family psychodrama--an odyssey that's like a grisly reworking of "Little Miss Sunshine."
  17. The Last Black Man in San Francisco
    This is a film of shifting moods and occasionally contradictory narratives. It’s as much about delusion as it is about gentrification, and as much about friendship as it is about solitude.
  18. La Ciénaga
    There's a new sensibility at work here, wry yet lushly disaffected, and it will be worth watching what Martel does next.
  19. Origin
    Origin has instances of raw domestic melodrama, but the emotions are so sincere that it’s hard not to be moved by it all. The film’s depiction of moments out of history is similarly textured.
  20. The Gatekeepers
    The Gatekeepers doesn't play like agitprop. The storytelling is strong, the images stark. The camera roams among multiple monitors showing multiple satellite views while an ambient score works on your nerves.
  21. The Beguiled
    Coppola’s The Beguiled doesn’t have the southern-gothic kick of its predecessor. It’s not a horror movie. Its power is in its undercurrents, in the sense that what we’re seeing isn’t inevitable but a sort of worst-case scenario of genders in opposition. No one is wholly good or bad. Both sides are beguiled.
  22. Grand Theft Hamlet
    You can’t stop art, motherfuckers, and whether it’s in Grand Theft Auto Online or during a global pandemic, the show must go on.
  23. Mr. Holmes
    Sherlock Holmes is totally cool again, which warms my dorky heart.
  24. Leviathan
    As the spiritual subtext took over, I couldn’t help but feel that something essential had been lost. The state overwhelms the individual; so, too, by the end, does this beautiful, strange movie.
  25. Boys State
    McBaine and Moss are the team behind 2014’s The Overnighters, a wrenching film about the North Dakota oil boom, and they’re interested in something beyond the contrast of adolescent faces and grown-up topics — or, for that matter, serving up simple optimism about Gen Z when taking in these young men at the cusps of their political lives.
  26. Songcatcher
    This is not just a musicologist's dream; it's our dream, too.
  27. Salt
    A senseless blast.
  28. The Tailor of Panama
    The film starts out as a freewheeling farce and turns into a pitch-black burlesque with surprising depths of feeling.
  29. You Don't Mess with the Zohan
    Director Dennis Dugan knows his way around shin-whacking slapstick, and Sandler is mesmerizing.
  30. Paths of Glory
    Paths of Glory is all about that greatest of all movie subjects: power.
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