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. American Casino
    Sensationally effective.
  2. Bull
    Annie Silverstein’s Bull doesn’t jerk you around. It doesn’t Go for It. It’s quieter and more pensive than a glib summation (or a trailer) would suggest, but it never goes soft.
  3. Megadoc
    Like the man who made it, Megalopolis is a movie that bears both the qualities and the scars of these conflicts. We probably didn’t need Megadoc to tell us this, but it remains a thoroughly fascinating look at one of the most unlikely films ever made.
  4. In Her Shoes
    When superb craftsmanship, discipline, and risk-taking (toning down Diaz and MacLaine; treating Collette as a desirous leading lady) are applied to accessible, even frivolous material, the results can be deeply pleasurable. In Her Shoes isn’t a masterpiece, but it’s the best Saturday-night movie millions of people are going to go to.
  5. Truth
    The most engrossing part of Truth is the gradual, grueling retreat from the story, first by its participants and then by the network that broadcast it.
  6. Nitram
    When Kurzel does penetrate the unkempt veil of Jones’s hair and closes in on his face, it’s to capture how the actor sprints from one emotion to another, alluding to the impetuousness and spontaneity at play within Nitram.
  7. Enron: The Smartest Guys in the Room
    The most blessedly traditional sort of documentary. It follows the twisty, complicated rise and fall of Enron in steady, chronological order, from the mid-eighties to the present.
  8. Farewell
    As both men lie to loved ones to keep their exchange alive, the tension builds and becomes unbearable.
  9. V for Vendetta
    It's the perfect moment for the ridiculous but riotously enjoyable revolutionary comic-book thriller V for Vendetta-which will doubtless outrage conservatives and unnerve fuddy-duddys but liberate the rest of us with its magisterial irresponsibility.
  10. Atanarjuat: The Fast Runner
    At times it's plodding and inchoate, but there's certainly nothing else like it in the movies right now, and it has at least one great sequence.
  11. Penguins
    What’s worse, the songs often distract from the far more interesting real drama occurring onscreen. Kids may find it engaging, but adults may get more restless than usual. Turn the sound down or play your own music over it, and Penguins may well be a near masterpiece.
  12. The Cats of Mirikitani
    It's one of the best kinds of documentaries--not calculated but serendipitous.
  13. I Am Legend
    The first two thirds and change of I Am Legend is terrific mindless fun: crackerjack action with gnashing vampires barely glimpsed (and scarier for that) and how’d-they-do-that New York locations that retroactively justify the traffic jams.
  14. Little Woods
    It’s a testament to the strength of Thompson’s performance, and DaCosta’s control of tone and action, that for all the bleakness of this world, we keep watching. The result is a work that lingers, grimly, in the mind.
  15. The Little Hours
    The movie is not camp. It’s deliciously deadpan sex farce played by some of the deftest clowns in the English-speaking world. The more matter-of-fact it is, the more screamingly funny.
  16. The Land of Steady Habits
    The movie’s central motif — rituals that dull pain and heighten unhappiness — doesn’t clobber you. It seeps into you.
  17. 20,000 Days on Earth
    Certainly for any fan of Cave’s, 20,000 Days on Earth makes for a creative, enthralling journey through the man’s world.
  18. Meeting Gorbachev
    Meeting Gorbachev is a hagiography, but it’s unafraid to position itself as such; Herzog makes his case proudly and passionately.
  19. Rich Hill
    This vital documentary gives you a world of hurt, prescribes nothing, and calls the ultimate questions you can ask as an American.
  20. The Kindergarten Teacher
    Lisa’s drive is more than biological; it’s intellectual and emotional, and that’s what keeps what often risks becoming camp madness in an identifiably human place — almost all the way to the end.
  21. Avatar: Fire and Ash
    Fire and Ash is in some ways the messiest of the three Avatar movies, but it’s also the richest, the one in which we most lose ourselves, the one that makes us wonder about these characters and constantly peer into those rapturous backgrounds, trying to see forever.
  22. The Friend
    Delectably ambiguous, the film always feels on the verge of some thematic breakthrough — a crystallized metaphor, a revealing flashback, a tell-tale fictional projection — but it admirably never gets there.
  23. Margin Call
    A hell of a picture. And shrewd.
  24. Under the Sand
    Creepily evocative.
  25. Like Someone in Love
    Like Someone in Love has rather simple, sentimental, melodramatic underpinnings, but the vantage changes everything. It opens up this world — and the next. It’s an enthralling journey.
  26. Monsters, Inc.
    Much more kid-oriented than any other computer-animated movie thus far. In other words, it's much more Disneyish. I enjoyed it.
  27. Sicko
    Sicko is Moore’s best film: a documentary that mixes outrage, hope, and gonzo stunts in the right proportions; that poses profound questions about the connection between health care and work.
  28. Loveless
    One word springs to mind after 15 minutes of Loveless: Getmethef**koutofhere. The chill eats into you — the cold burns and cuts. But it turns out Zvyagintsev has more on his mind than emotional cruelty to kids.
  29. Moving Midway
    Moving Midway is thrilling.
  30. Seymour: An Introduction
    Buoyed by Chopin, Schubert, Schumann, and more, Seymour: An Introduction is lyrical without getting fancy, its director plainly rapt.
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