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. Every Little Thing
    Before our eyes, Every Little Thing comes to embody the fragile yet uncontainable mystery of all life.
  2. The Oldest Person in the World
    For a movie so filled with death, The Oldest Person in the World is surprisingly, almost confrontationally life-affirming. That sounds cheap, but Green comes by the sentiment honestly.
  3. Rush
    Rush satisfies our lust for both grand character combat and deadly gearhead spectacle.
  4. Bully
    Bully is repetitive and not especially artful, but children who allow themselves to see the world through the eyes of the film's victims will never be the same.
  5. The Half of It
    In most good rom-coms you fall in love with the characters; in The Half of It you fall in love with their sheer longing.
    • 74 Metascore
    • 70 Critic Score
    Kundun
    Gorgeously shot and utterly respectful of the story of the fourteenth Dalai Lama, but it’s dramatically inert.
  7. Armageddon Time
    By letting the picture embody his failures — by turning Armageddon Time into a self-aware look at his own limitations — the director makes that necessary connection between then and now, between the characters onscreen and us watching. In other words, he denies us the one thing these types of movies almost always provide: reassurance.
  8. Thelma
    Thelma is both more mysterious and more accessible than his other films. The spell it casts transcends the silly plotting. It puts you in a zone all its own.
  9. Plan B
    Despite — or because of — its candor, the film is careful not to traffic in titillation. Everyone is beautiful, everyone is young, but this movie is made for the people in it, rather than appealing to some creepy, objectifying gaze.
  10. Colette
    Politeness may be the film’s weakest point, whether with its characters or bedroom scenes. But it’s hardly something to complain about, especially when the company is this lively.
  11. Teenage Mutant Ninja Turtles: Mutant Mayhem
    The turtles’ unceasing, rapid-fire banter is all affectionate dunks on one another and pop-culture quips, and the look of the film is never less than entrancing, with computer animation that creates the feel of something handmade.
  12. Disobedience
    Disobedience isn’t packed with surprises, but that’s not why you go to a movie like this. You go to watch humans with wayward emotions labor to make peace with (or opt to war against) a formal, ritualized way of life.
  13. Becoming Cousteau
    In restoring Cousteau’s human side, Becoming Cousteau shows us both his brilliance and his shortcomings, and it suggests that these extremes were fundamentally connected. He was soft-spoken and modest on the surface yet consumed by an ambition that was driven as much by his remorse as by his vision.
  14. Woman of the Hour
    The whole film feels a bit too careful: composed but also more than a little academic.
  15. A Gray State
    It’s intermittently successful, but even in its more meandering moments it is a gripping, almost unbearably dark watch.
  16. Sand Storm
    Ultimately, this is a tale of a mother and daughter trapped in a cycle of yearning and despair. It’s a lovely, deeply affecting film.
  17. Golden Door
    The greatness of Golden Door is its tone; sympathetic but always wry.
  18. The Town
    In The Town, he (Renner) doesn't signal that Jem is a sociopath... It's a deeply unnerving performance, beyond good or evil.
  19. Ain't Them Bodies Saints
    As Ain’t Them Bodies Saints moves along, its elliptical approach to drama goes from keeping us on our toes to dulling everything down.
  20. In Darkness
    In outline, In Darkness is a standard conversion melodrama, but little within those parameters is easy. The darkness lingers into the light.
  21. Liam
    Has some rapturously observant sequences concerning childhood.
  22. Sully
    Hanks and those scenes in the cockpit make the movie worth seeing, in spite of the dumb melodramatics. But only just.
  23. Interstellar
    In his florid sci-fi opera Interstellar, Christopher Nolan aims for the stars, and the upshot is an infinite hoot — its dumbness o’erleaps dimensional space. It’s hugely entertaining, though.
  24. The Attack
    It could easily have veered into opportunistic melodrama. But the director’s focused restraint and Suliman’s wonderfully understated performance keep us grounded.
  25. Far From Men
    What makes it work is the solemn efficiency of director David Oelhoffen’s storytelling and the quiet intensity of the two leads.
    • 74 Metascore
    • 70 Critic Score
    Vixen!
    There's a wild enthusiasm to the heroine's activities and a deadpan stupidity to the dialogue that provide a redeeming entertainment value for non-up-tight adults. [26 May 1969, p.55]
    • New York Magazine (Vulture)
  27. Joy Ride
    Watching the film is a reminder that the most boundary-pushing comedy isn’t about risqué content but a willingness to get uncomfortable and the confidence to assume audiences will join along in that journey. Joy Ride instead seeks out the warm fuzzies in a way that feels like a surrender.
  28. Crazy Rich Asians
    Luckily, Crazy Rich Asians is, at its heart, a fish-out-of-water story, and it has a lot more going for it than its literal money shots.
  29. The History Boys
    The movie is brilliant and infectious, much like Bennett's voice: English-deadpan but never snide, and generous to a fault.
  30. A Mighty Heart
    The movie is clipped, blunt, and grimly realistic. It is practically a POLICIER , although the suspense is mitigated by our knowledge that the investigation will end badly.
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