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. Sly Lives! (aka the Burden of Black Genius)
    You walk out of Sly Lives! feeling like you’ve genuinely learned something, but you also walk out exhilarated.
  2. Dallas Buyers Club
    Despite its downbeat context (a plague at its height), the movie is a crowd-­pleaser — graceful and funny enough to distract you from its gaps and elisions.
  3. Better Man
    There’s an interesting juxtaposition here: a paint-by-numbers biopic structure, neatly bookmarked (to a fault) with pat dialogue about the perils of fame and the double life of stardom and abandonment issues and whatnot, which is then constantly upended by completely batshit musical sequences.
  4. Prophet's Prey
    At times, I found myself wishing Berg focused more on Brower and Krakauer’s investigations and given the film a more present-tense narrative. This is a fascinating movie, but there’s a lot to cover here, and one can occasionally feel lost amid all the strands.
  5. The Promised Land
    The result is the kind of ravishing, rousing epic we don’t really get much of anymore.
  6. The Messenger
    The actors playing parents and spouses (among them Steve Buscemi, Halley Feiffer, Portia, and Kevin Hagan) are stunningly believable. I'm not sure how Morton made sense of her character's ebbs and flows, but I never doubted her. She's a mariner in uncharted seas of emotion.
  7. Private Fears in Public Places
    It's a Parisian romantic roundelay with sundry couples connecting and disconnecting, but it looks and sounds like no sex comedy ever made: It's transcendentally yummy.
  8. The Devil and Daniel Johnston
    Surprisingly diverting as a case study: not only of a talented misfit sublimating like mad to keep his loneliness from consuming him but also of a fringe artistic community (which includes the makers of this film) that rallies to give him the reinforcement he craves.
  9. The Nightingale
    It’s constructed like a meathead melodrama — though with odd, last-act dissonances that might reflect Kent’s ambivalence.
  10. Grandma
    Grandma marks a new era in gay cinema — one’s that confident and mature enough to acknowledge regret.
  11. Presence
    Presence isn’t afraid to be narratively predictable, because it’s out there visually. It’s an art film that also works as a spellbinding horror film, and it might be the best thing Soderbergh has done in ages.
  12. I, Tonya
    I, Tonya is not by any means a weeper. It’s a black comedy, and parts of it are too broad, like a second-rate Coen brothers movie.
  13. Fat Girl
    A lovely minor achievement. It would have been major if Breillat had been more expansive with respect to Anaïs instead of contentedly letting her go on about her lumpish ways.
  14. 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.
  15. Caesar Must Die
    In a scant hour and a quarter it enlarges your notion of what theater and cinema, what art itself, can do — it dissolves every boundary it meets.
  16. The War Tapes
    See The War Tapes. Maybe this picture can be worth a thousand lives.
  17. Maestro
    Maestro somehow proves that Cooper is a director of genuine vision, even though it’s not a particularly successful movie.
  18. Project Hail Mary
    There are certainly some real laughs as well as some groaners, but at times you want the film to just get on with it. Mainly because once you get past the shtick, there’s an intriguing story there, fun and rousing in its own right without need of additional silliness.
  19. Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
    You come away from Jim & Andy wondering — not for the first time — about the cost to great artists of what they do, envious of their talent and thinking, “I’m glad that’s not me.”
  20. Relic
    What makes this movie so frustrating is that it ends on an intriguing message about what we inherit, what we’re bound to through our families. But without the heft of sincere horror behind it, Relic falls short of its potential and we’re left wondering how terrifying this message actually is.
  21. Chi-Raq
    Bitches, it’s always a good month in America for an antigun movie. The newest, Spike Lee’s Chi-Raq, might be the best ever. It’s sexy, brash, and potent — a powerful weapon in its own right.
  22. Thelma
    Its observations about the disconnect between its elderly protagonist and the society around her are surprisingly relatable.
    • 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)
  24. Love Lies Bleeding
    The film is at its best when it focuses on Lou and Jackie’s love for each other . . . Their passion fuels a lot of the characters’ impulsive decisions later in the story. But as things descend into further violence, the film can start to feel one note.
  25. The Invite
    The Invite is primarily a comedy, and it does have some solid laughs, though the character interactions can also feel so manufactured that our bullshit detectors start going off fairly early.
  26. Calvary
    Those shots are in contrast to those landscapes, which are craggy, primordial. It’s meant to be a haunting combination, and I have colleagues who’ve found it just that, who came out of the movie ashen, devastated. But I found it bludgeoning — I think it gives new meaning to the phrase hammer of God.
  27. Suzume
    Suzume may be a less effective romance than something like Your Name — it’s tough when half of your main pairing is a piece of furniture — but that’s because its real love story is with the stuff of everyday life, making it almost unbearably inviting and worth fighting for.
  28. 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.
  29. The Mustang
    The Mustang brought the sensation back of having to slow down and breathe with a horse and in the process leave yourself behind. Any movie that makes leaving oneself behind so tactile and enticing is a horse of a different color.
  30. Scratch
    A loose-limbed documentary about the hip-hop D.J. scene that, for know-nothings like me, is highly informative without being in the least academic.
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