New York Magazine (Vulture)'s Scores

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For 3,960 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: 2,219 out of 3960
  2. Mixed: 1,378 out of 3960
  3. Negative: 363 out of 3960
3960 movie reviews
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  1. Jafar Panahi's Taxi
    Taxi is a strange movie. These are nonprofessional actors, and the film veers between documentary realism and playful staginess.
  2. Ida
    The movie’s chill is hard to shake off. It’s a grimly potent portrait of repression, of what happens to a society that buries its past in an unmarked grave — and lives its present in a state of corrosive denial.
  3. All the Beauty and the Bloodshed
    All the Beauty and the Bloodshed is instead an incandescent work that examines Goldin’s personal life, her evolution as an artist, and her later turn toward harm-reduction advocacy, and understands them to be part of the same journey.
  4. Waltz with Bashir
    It has taken an animated film to go where live-action dramas and even documentaries haven't--to tickle our synapses and slip into our bloodstream.
  5. Hit the Road
    There is a sparseness to Hit the Road that reveals the intuitiveness of Panahi’s filmmaking, his grasp of these characters and how they tug and poke at each other, and his understanding of the ways fear, paranoia, and loss turn us into people we might not like, let alone recognize.
  6. This Is Not a Burial, It's a Resurrection
    I recommend seeing it more than once; luckily, it’s so gorgeous and spellbinding that it invites repeat viewings.
  7. Anora
    For all its charm, Anora is a movie in which just about everybody’s fighting for survival, and they only ever manage to succeed when they start working together.
  8. The Favourite
    Though mostly twaddle as history, Yorgos Lanthimos’s The Favourite is wonderful, nasty fun, a period drama (wigs, breeches, beauty spots) that holds the screen with gnashing teeth and slashing nails.
  9. 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.
  10. The Brutalist
    It’s impossible not to be impressed by the sheer audacity of The Brutalist’s existence, even if the finished product doesn’t end up matching its ambitions.
  11. La Chimera
    At times, it feels as though it has emerged — dusty, tattered, and beautiful — from the storied earth of Italy itself.
  12. The Worst Person in the World
    The Worst Person in the World acts as a forceful reminder that the entanglements between women and the love interests dancing in and out of their lives matter less than the lifelong relationship we must maintain with ourselves.
    • 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.
  14. Licorice Pizza
    Licorice Pizza — a movie as exasperating as it is delightful — could be described as an exploration of the unstable ground where Alana’s arrested development and Gary’s precociousness meet.
  15. First Cow
    This haunting movie transports you to another world — and redefines home.
  16. Mad Max: Fury Road
    Mad Max: Fury Road is certainly a blast and a half: You don’t just watch it, you rock out to it.
  17. Winter's Bone
    For all the horror, it's the drive toward life, not the decay, that lingers in the mind. As a modern heroine, Ree Dolly has no peer, and Winter's Bone is the year's most stirring film.
  18. The Queen
    The Queen is the most reverent irreverent comedy imaginable. Or maybe it's the most irreverent reverent comedy. Either way, it's a small masterpiece.
  19. Gett: The Trial of Viviane Amsalem
    The brilliance of Gett: The Trial of Viviane Amsalem is that, without a shift in tone, the film begins to seem like a tragedy populated by clowns, its males clinging to ancient laws to compensate for feebleness of character.
  20. I Called Him Morgan
    It’s mesmerizing, too vivid to be evanescent, too precious to hold.
  21. All of Us Strangers
    There’s an admirable defiance to Haigh’s interest in characters who aren’t easy in their own sexual identities, who don’t feel in sync with queer culture, and who struggle with scars from the past and internalized shame that doesn’t go away just because it’s unreasonable.
  22. Bloody Sunday
    The most visceral and cumulatively powerful account of civil war since Gillo Pontecorvo's "The Battle of Algiers."
  23. Blue Is the Warmest Color
    The movie goes on for three hours without an emotional letup — it’s finally overwhelming.
  24. American Splendor
    It would be a mistake to regard American Splendor as an anthem for the common man. It is the UNCOMMON that is being celebrated here.
  25. Phantom Thread
    We’re not so much watching Woodcock the rarefied designer as Day-Lewis the rarefied actor, his immersion so uncanny that he can illuminate a soul at once titanic and stunted.
  26. Gosford Park
    A love affair between performer and filmmaker. The director shows off his ardor by eliciting from his actors aspects of their gifts that they themselves may not have known they had.
  27. The Souvenir: Part II
    There’s a sealed-off quality to The Souvenir Part II that the first installment doesn’t have, a sense of surrendering to the idea that it’s possible to authentically portray only oneself — which may be true and may be a creative dead end. But even that turns out to be by design, something both the film and its protagonist can acknowledge and then escape.
  28. This Is Not a Film
    In totalitarian societies, artists have found all sorts of ways - some brilliantly imaginative - to disguise their political protest, but Panahi has no subterfuges left. This Is Not a Film ends with a whimper that is a bang. He must be freed.
  29. Silent Friend
    Built around silences and the steady accumulation of human and natural detail, the story feels at times as if it’s being told by the tree itself: omniscient, unflinching, yet shot through with an almost alien tenderness. Its perspective is not so much Olympian as it is pointillist.
  30. Finding Nemo
    It has what the most heartfelt Disney animated features used to have: rapturous imagery matched with real wit.
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