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. Fruitvale Station
    Fruitvale Station will rock your world — and, if the life of Oscar Grant means anything, compel you to work to change it.
  2. Life of Pi
    Pi has designed his own terrarium to keep from staring directly into the abyss. It's not denial. It's faith in something else: the transformative power of storytelling. The film is transcendent.
  3. Once Upon a Time in Harlem
    [A] truly monumental work of art ... The footage has been edited with fluidity and grace.
  4. Straight Outta Compton
    Straight Outta Compton is among the most potent rags-to-riches showbiz movies ever made.
  5. The Ballad of Buster Scruggs
    The Coens’ newest Western, The Ballad of Buster Scruggs, might be their bleakest work of all, and one of their richest.
  6. The Deep Blue Sea
    The Deep Blue Sea is not a showy or pronounced movie. Open yourself up to it, however, and it might destroy you.
  7. The Raid: Redemption
    Once the action starts - and it starts very quickly - The Raid is relentless, breathtaking in its sheer propulsive majesty. But it's also shot through with moments of bleak poetry amid the carnage.
  8. First Man
    First Man might be the most grounded space movie ever made — grounded in the tension between technology that’s almost laughably fragile (the astronauts really do seem as if they’re going up in tin cans) and the sheer evolutionary imperative of family.
  9. Birds of Passage
    The movie is a knockout.
  10. 24 Hour Party People
    One of the sharpest and funniest movies about the music business ever made.
  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. Mountains
    Mountains is a film smart enough to forgo simplistic melodrama or narrative neatness. It’s the kind that dares us to look back and consider what it means to create a home away from the shores where you were born, in a country hostile not just to your betterment but to your very survival.
  13. Shaun the Sheep Movie
    Shaun the Sheep might look like an exciting, no-nonsense tale for little kids — and it totally is, on one level — but beneath its pitch-perfect simplicity lies great wisdom and beauty.
  14. Alphaville
    Every decade or so, Godard’s film is revered all over again for everything it got right about the future. But for all its influence, Alphaville still looks and feels like no other movie. More than a prophecy, it is poetry.
  15. Universal Language
    Universal Language is a magnificent film, one that feels warm and familiar even as we realize just how startlingly original it is.
  16. Asteroid City
    The audacity and beauty of Asteroid City lie in the way it connects the mysteries of the human heart to the secrets of science and the universe.
  17. Da 5 Bloods
    It is one of the greatest films Spike Lee has ever made.
  18. Ryuichi Sakamoto | Opus
    A spare, lovely work directed by the late musician’s son, Neo Sora, Ryuichi Sakamoto: Opus is even more haunting on a big screen, where its shimmering black-and-white photography and elegant camera moves actually heighten the intimacy of the performance.
  19. Hit Man
    Linklater’s gentle touch is his secret weapon, and Hit Man might be a masterpiece.
  20. Martin Eden
    The film is a masterpiece, so you should see it any way you can.
  21. Suspiria
    Suspiria is a gorgeous, hideous, uncompromising film, and while it seeks to do many things, settling our minds about the brutality of the past and human nature is not one of them.
    • 91 Metascore
    • 100 Critic Score
    Saving Private Ryan
    Spielberg has taken us back to basics -- back to art, back to amazement at the film medium itself.
  23. Baby Driver
    As he proves yet again in his thrillingly syncopated heist movie Baby Driver, the 43-year-old U.K.-born Edgar Wright is just about the perfect 21st-century genre director. He has a fanboy’s scintillating palette — flesh-eating zombies, righteous vigilante cops, stoic bank robbers in sunglasses — without a fanboy’s lack of peripheral vision.
  24. War Horse
    Spielberg has been ridiculed for shooting his actors from below against impossibly Spielbergian skies and a denouement that lays the love on copiously. But there's nothing simpleminded about how he uses movie magic, as a spell to dispel nihilism, to save us from the worst of ourselves by summoning up the best.
  25. Fallen Leaves
    There’s life boiling under the simple surfaces, which is both Kaurismäki’s aesthetic mantra and his great theme. At their best, these quiet, cool films tear you to pieces. Fallen Leaves already feels like one of his signature works.
  26. The Adventures of Tintin
    Everything he did in live-action movies with rolling boulders and runaway convoys he does bigger and better - by a factor of ten - in every frame. At the end of two hours, my jaw ached from grinning.
  27. An Inconvenient Truth
    One of the most realistic documentaries I've ever seen--and, dry as it is, one of the most devastating in its implications.
  28. Hell or High Water
    This is the kind of Western in which we know there will be blood but pray there won’t be, because the violence is bound to be gratuitous, absurd, with a needless finality. Hell or High Water is a rare humanist Western: Finality is the true villain.
  29. Green Border
    By replicating the process of dehumanization, the film’s form forces us to confront our own inaction. Green Border is unforgettable, in all senses of the word.
  30. 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.
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