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. Firecrackers
    The actors make the ordinary extraordinary — they give these characters the stature that eludes most superheroes.
  2. A Hard Day
    It’s our sense of adventure that matters in the end. We must cultivate confusion and dare to be disoriented.
  3. The King's Speech
    It's a prizewinning combination, terribly English and totally Hollywood, and Firth is, once more, uncanny: He evokes, in mid-stammer, existential dread.
  4. Thelma
    Its observations about the disconnect between its elderly protagonist and the society around her are surprisingly relatable.
  5. Filipiñana
    Through heightened control of imagery and mood, attention to composition and texture and sound, Manuel turns this simple, languid setting into something far more sinister without ever betraying the beauty of what’s onscreen.
    • 73 Metascore
    • 80 Critic Score
    That's Entertainment!
    That's Entertainment! is just that--and let the purists attribute to this amusement the pretentiousness it so charmingly lacks. [27 May 1974, p.90]
    • New York Magazine (Vulture)
  7. The First Omen
    Like the best studio horror directors, Stevenson understands that we’re not here for logic. The First Omen is soaked in style and mood with images that are both textured and shocking and that tap into tantalizingly visceral fears.
  8. The Illusionist
    The ending dispels a lot of the magic, but the silent-movie palette is gorgeous, and the film is worth seeing for the inspired hamming of Paul Giamatti as Vienna's chief inspector, whose plummy tones made me sure I could hear the ghost of James Mason cackling.
  9. Saturday Night
    Saturday Night might not be factually accurate, but it feels spiritually true.
  10. Pirates of the Caribbean: The Curse of the Black Pearl
    The law of commerce worked this time around: One terrific thrill ride has begotten another.
  11. The Fighter
    The movie has so much texture that once it gets you, you're good and got.
  12. Inglourious Basterds
    Even more than his other genre mash-ups, this is a switchback journey through Tarantino’s twisted inner landscape, where cinema and history, misogyny and feminism, sadism and romanticism collide and split and re-bond in bizarre new hybrids. The movie is an ungainly pastiche, yet on some wacked-out Jungian level it’s all of a piece.
  13. Elvis & Nixon
    A thoroughly charming comedy that bobs on a sea of incongruities.
  14. Possessor Uncut
    If Possessor ultimately feels more like a testament to its director’s excellent taste in influences than a film that entirely gels in itself, it’s still a thoroughly troubling watch.
  15. Sing Street
    Sing Street is far more boisterous and certainly funnier than Once, but it remains in a minor key; “finding happiness in sadness,” is how one character puts it.
  16. Anatomy of a Fall
    It’s not hard to see why Triet’s picture resonates. It has both suspense and intellectual ambition; plot revelations don’t just send the story in new directions, they expand the film’s cultural scope.
  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.
  18. The Weight
    McKinley establishes just the right amount of physical and emotional stakes, and a cast led by Ethan Hawke infuses the drama with believable camaraderie, conflict, and tension. It’s the kind of atmospheric, exciting period drama we don’t really get much anymore.
  19. 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."
  20. The Beast
    It overflows with intriguing ideas, even if they aren’t all fully explored.
  21. Late Night
    What makes Late Night — otherwise a largely predictable story in a familiar mold — really pop is Kaling’s script, which is at the blunter and frankly more exciting spectrum of what Kaling has proven herself to be capable of in her writing career thus far.
  22. The Whale
    Once everything finally collides in The Whale, something shattering and beautiful and honest emerges.
  23. Happy as Lazzaro
    Part of the movie’s fun — and it is fun, once you adjust to its uninsistent rhythms — is how it forces you to share Lazarro’s go-along-to-get-along ebullience.
  24. The Wind Rises
    It’s romantic, tragic, and inexorably strange.
    • 87 Metascore
    • 80 Critic Score
    The Long Goodbye
    If you can have another movie myth shattered in high style, with love as well as wit, The Long Goodbye is for you. [29 Oct 1973, p.80]
    • New York Magazine (Vulture)
  26. The Piano Teacher
    Haneke is an exploitation filmmaker of the highest gifts. His movies are not to be entered into lightly.
  27. Day Night Day Night
    The film is, in fact, a cunning exercise in subjectivity and withheld information--and once you accept those parameters, it’s riveting.
    • 83 Metascore
    • 80 Critic Score
    Luther: Never Too Much
    It’s a shame that Vandross, who died in 2005 of complications from a stroke, didn’t get to participate in the clear-eyed, holistic reappraisal he’s gotten with Luther
  29. The Painter and the Thief
    A deliciously absorbing documentary.
    • 78 Metascore
    • 80 Critic Score
    Yacht Rock: A Dockumentary
    Yacht Rock is most intriguing as a chronicle of the cat-and-mouse relationship between artists’ creativity and the language fans and brands use to describe and promote it.
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