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. Capernaum
    It’s a deeply assured piece of direction, and though it only plays a few emotional notes, they are ones that won’t soon leave your memory.
  2. Martha Marcy May Marlene
    The non-ending turns the whole movie into an elaborate tease, too creepy to dismiss, too shallow to justify its "ambiguities."
  3. Dina
    As a woman with a seemingly boundless amount of love to share, she gives voice to an urge that most other romantic comedies take for granted.
  4. The Trip to Italy
    As befits its settings, The Trip to Italy aims higher than its predecessor — maybe too high — and isn’t as fresh. I enjoyed it, though.
  5. Lambert & Stamp
    It’s great not just because we’re eavesdropping on two rock survivors, but also because we’re seeing, in these living legends, the handiwork of the two unsung men to whom this film pays tribute.
  6. Stan & Ollie
    This is too sunny a production to linger too long in the dark corners; even Laurel’s alcoholism is treated with a light touch when it comes up. Nevertheless, it still finds its way to some kind of profundity about the nature of long-term working relationships, something a little more complicated than the mere idea that the show must go on.
  7. Undine
    It feels like a fist that won’t close, its elements never intentionally coming together.
  8. Attack the Block
    Cornish, like Edgar Wright (who directed "Shaun of the Dead" and was an executive producer here), can parody a genre in a way that revitalizes it, that reminds you why the genre was born in the first place. The movie is in a different galaxy than "Cowboys & Aliens": It has, in both senses, guts.
  9. The Count of Monte Cristo
    For much of their 178-minute running time, Delaporte and de La Patellière let us delight in the spectacle of Dantès and his associates weaving their sinister, at times mysterious web — well-positioning us for the eventual reckoning, when we’ll be thoroughly invested in all these characters and their impending fates.
  10. The Wolf of Wall Street
    A veritable orgy of immorality, each scene making the same point only more and more outrageously, the action edited with Scorsese's usual manic exuberance but to oh-so-monotonous effect.
  11. Terror's Advocate
    A brilliant study in the link between moral corruption and narcissism.
  12. The Two Popes
    The Two Popes may be a fantasy about a closed institution flinging its doors open, but it’s also a compelling actor’s showcase. The combination is surprisingly potent.
  13. Win Win
    Blessed is the go-for-it movie that can make room for dissonances and weirdness.
  14. Heaven Knows What
    By the end of Heaven Knows What, you see Ilya’s fragile, unguarded soul through Harley’s eyes, and the film’s discordances sound like the music of the spheres.
  15. Fyre
    Fyre director Chris Smith (American Movie and The Yes Men) has experience crafting stories about guys with big dreams and the capacity to pull off long cons, and he has a great instinct for finding the most damning anecdotes.
  16. Last Summer
    A family drama as masterfully propulsive as a horror movie.
  17. Goodbye to Language 3D
    I’ve now seen Jean-Luc Godard’s latest film twice, and I think I might be one more viewing away from finally being able to say what the hell it’s about. That sounds like a condemnation, but a film you need to see again should be a film you want to see again, and the oblique beauty of Goodbye to Language, shot in 3-D, has a tractor-beam-like pull.
  18. The French Dispatch
    It’s a romp, full of touches that go by almost too quickly to pick up on — I was partial to the strongman who plays a small but key role — but the lingering mood is unmistakably sad.
  19. Lost in La Mancha
    A mesmerizing documentary.
  20. Bernie
    On its own terms, Bernie is smoothly made and reasonably entertaining, Linklater doing his Austin-based best not to condescend to the locals - at least the East Carthage locals.
  21. Jinn
    For the most part, Mu’min’s script is pleasantly inquisitive, and its refusal to arrive at easy answers is its engine. Jinn is a special little film, one that never lets its complicated, contradictory characters become abstractions, but instead revels in all the disparate elements that make them who they are.
  22. Benedetta
    In some ways, it encapsulates the director’s best and worst instincts. It might be his most personal film, a genuine effort to understand the connection between two of his key obsessions, spiritual faith and human impulse. It’s also hard to shake the feeling that the film wants to outrage us into a response, but its supposed transgressions often feel tired and pro forma.
  23. The Invisible Woman
    With her swanlike neck and ever-flushing complexion, Felicity Jones has a perfect nineteenth-century look, but there’s something forward and modern about her physiognomy, her huge eyes and strong nose and overbite. As she gazes down in enforced modesty, you feel her soul about to burst. The performance is startlingly vivid.
  24. Tully
    The title character in Tully, the third collaboration between director Jason Reitman and screenwriter Diablo Cody, doesn’t make her entrance until well into the film, after it’s established that the protagonist, Marlo (Charlize Theron), is moving from postpartum depression to postpartum desperation — and that’s when the movie enters uncharted territory and comes to life.
  25. Pleasure
    Thyberg clearly set out to create a hysteria-free look at the industry, taking on the challenge of critiquing structural issues without casting judgments on the idea of having sex on camera. Pleasure succeeds at this, though not without a cost. It’s a clear-eyed treatment of porn wedded to a character study that never comes to life.
  26. The Muppets
    It may not entirely work as a movie, but The Muppets shines as a piece of touching pop nostalgia.
  27. Time Out of Mind
    Moverman is attempting something hugely ambitious with Time Out of Mind: a socially conscious, existential-displacement art movie. I think it would have worked better with a little less rigor and a little more intimacy.
  28. Darkest Hour
    Everyone seems to be a walking embodiment of an essence, not cartoons exactly, but something more totemic. If all this makes Darkest Hour propaganda, then the shoe may fit, though it’s hard to find fault with its protagonist’s aims, at least in this small of a scope.
  29. 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.
  30. Nimona
    What makes Nimona so refreshing is that it doesn’t just plunk these characters onscreen as a contribution to the battered cause of representation — it also has something to say about them and their respective relationships with the status quo.
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