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. Actress
    One of the greatest documentaries I’ve ever seen.
  2. Buck
    Meehl, in her directing debut, is attuned to the rhythms of Buck, who's attuned to the horses.
  3. The White Tiger
    Through this unique figure, and through this highly specific portrait of one country, The White Tiger achieves a kind of universality.
  4. Syriana
    A film that transcends its obvious timeliness to say some elemental things about personal loyalty and institutional betrayal.
  5. Dreamgirls
    I know I'm going to bring down the room by saying I think it's just okay. Well, Jennifer Hudson is more than okay.
    • 76 Metascore
    • 70 Critic Score
    I Am: Celine Dion
    The film lands somewhere between hand-holding fan service and brutal portrait of chronic illness.
  7. Outside In
    This is an conversation- and character-driven film with an occasional eye for something more ineffable, but Falco and Duplass’s complicated, nakedly searching performances are the main event.
  8. The Death and Life of Marsha P. Johnson
    I hope the film inspires a new generation of amateur sleuths. Maybe — thanks to movies like The Death and Life of Marsha P. Johnson — a wish-fulfilling fictional scenario will come to pass in the real world, and the injustices of history will stand plainly in the living present.
  9. Flight
    No actor is as brilliant, or as cunning, as Denzel Washington at portraying superhuman coolness and the scary prospect of its loss.
  10. 99 Homes
    Bahrani’s casting of Dern is genius. She’s such a profoundly unaffected actress that you instantly buy her aversion to her son’s lucre. She has a moral and aesthetic problem with that tacky mansion on the waterway. She wouldn’t fit in there.
  11. The Trial of the Chicago 7
    This film is one of those exhilarating instances when Sorkin finds a context in which all of his well-established impulses that can be so annoying elsewhere — the self-righteousness, the straw men, the great men, the men who aren’t onstage but are nevertheless digging deep in their diaphragms to deliver their lines to the back row — actually work.
  12. Cloud
    Kurosawa films psychological torment with real gravity, and he films physical cruelty with humorous detachment. The absurdity of his vision matches our topsy-turvy reality.
  13. This So-Called Disaster: Sam Shepard Directs the Late Henry Moss
    For all its high-end ambitions, This So-Called Disaster has a tabloid-TV-like appeal: We want to see if these volatile performers get on each other's nerves.
  14. A Very Long Engagement
    When this long movie is over, all you want to do is clap and weep and watch it all over again immediately.
  15. Shine a Light
    My favorite rock-concert movies, Jonathan Demme’s "Stop Making Sense" and "Neil Young: Heart of Gold," are organic: They chart a miraculous path from sound to soul. Scorsese stays on the outside, as befits his temperament and his subject. Yet there is, amid the whirligig spectacle, a spark of connection.
  16. Rebel Ridge
    The film manages to be both intelligent and visceral.
  17. Cartel Land
    The even-tempered, exceedingly rational “El Doctor” seems more laudable than Eastwood and Bronson combined, especially in light of the Mexican government’s notorious ineptitude and corruption.
  18. An Honest Liar
    Whatever his foibles, An Honest Liar depicts a great American original — a man who has taught a generation of scientists, magicians, and even certain film critics that our senses must be trained to detect the smell of bullshit.
  19. Shotgun Stories
    The movie makes you empathize with the rage that drives these young men to violence--but it also makes you see how manly action wipes out their individuality, their uniqueness, and turns them into archetypal meatheads.
  20. Hail Satan?
    Lane observes with both wryness and palpable admiration as groups across the country embrace the gothic pageantry of the Temple as a means of exercising their political freedom.
  21. Zola
    The film is about the power of storytelling, and not in the cornball, self-congratulatory sense in which that phrase is normally deployed.
  22. We Steal Secrets: The Story of WikiLeaks
    By the time this twisty, probing, altogether enthralling movie hits its final notes, the crimes against the Constitution and humanity have been upstaged by personal demons. Which is our woe as well.
  23. Talk to Me
    Talk to Me doesn’t quite have something pointed to say about it, or anything else, but that’s okay — it’s just here to show you a good time and then usher itself out before overstaying its welcome.
  24. Midnight Special
    Nichols’s mythic aspirations are still a puzzle to me; I’m not sure he has connected all the dots in his psyche yet, or that he fully brings off his finale. But I love watching his movies.
  25. The Unforeseen
    Hideously depressing but also enraging documentary.
  26. Japan
    Reygadas is both a sophisticate and a primitive: He sets up his film as a religious allegory, with the nameless painter as a kind of suffering Christ and the old woman--whose name is Ascen, as in Ascension--as his redeemer.
  27. The Last Station
    The tony cast emotes like mad, but polished Brits are so temperamentally unlike Russians that every four-syllable patronymic sounds like iambic pentameter.
  28. The Guest
    Wingard is also clearly enamored of the synthesized soundtracks of Giallo and John Carpenter films, and here, he turns that into a whole thing, too: A mix Anna makes for David becomes a plot point, giving the director an excuse to practically drench his scenes in dreamy electronica.
  29. Margin Call
    A hell of a picture. And shrewd.
  30. The Hand of God
    With previous films like the Oscar-winning Great Beauty and the politically charged biopics Il Divo and Loro, Sorrentino indulged his fondness for boisterous, bunga-bunga stylization. He is contemporary cinema’s mad poet of unchecked hedonism. But he holds himself back this time around. The Hand of God isn’t realistic or gritty (or, God forbid, subtle), but it is more subdued.
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