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. Rust and Bone
    Rust and Bone doesn't come together, but it's a triumph of non-actorish acting.
  2. Inland Empire
    Inland Empire is way, way beyond my powers of ratiocination. It's the higher math.
  3. Val
    Val is not a gloomy movie at all. Quite the opposite. It’s vibrant, quick, and alive, and Val Kilmer today makes for an entertaining guide, with his hammy facial gestures now doing double duty since he can’t talk.
  4. Wordplay
    Niceness also takes the edge off Patrick Creadon's otherwise revitalizing documentary.
  5. Fair Play
    Chloe Domont’s film divides the entire world into binary moments of understanding and misunderstanding — without the shades of gray that would make Fair Play and its characters more tangible and its central tension less didactic.
  6. I'm Not There.
    Too often, it’s the MOVIE that isn’t there. What’s meant to be archetypal comes across as superficial.
  7. Inside Out 2
    New characters and elements get added, the metaphor becomes overextended, and the idea that this world is meant to be a reflection of one person’s psyche gets lost in a sea.
  8. The Son's Room
    A bit too awed by its depiction of the healing power of love. It's minor indeed compared with "In the Bedroom," which deals with a similar subject and doesn't back away from the rawness of grief.
  9. The Man Who Wasn't There
    The Coens have a true feeling for the sleek surfaces of the genre, but they don't connect with its sordid, sexy undercurrent; that's why Crane is made to seem so passive.
  10. The Fall Guy
    There are many elements that make The Fall Guy enormous fun, but what makes it genuinely artful is the way that Leitch and his team (including writer Drew Pearce and stunt coordinator Chris O’Hara) have conceived the film’s stunts as extensions of the characters.
  11. Creed III
    Creed III’s greatest achievement is demonstrating that there’s more story to be told about Donnie, who after two films had been looking pretty thoroughly explored as a character.
  12. Wicked
    Wicked is as enchanting as it is exhausting.
  13. A Most Wanted Man
    What’s on display here is a great actor at his absolute peak — damn it all.
  14. Spaceship Earth
    Viewed under quarantine, Spaceship Earth has a visceral kick.
  15. Arbitrage
    Jarecki puts the veteran actor to brilliant use in the insanely gripping Arbitrage.
  16. Jane Austen Wrecked My Life
    Agathe is concave in both posture and spirit, but she feels right for this muted world of amorous contemplation, of long, uncertain glances met by equally long, equally uncertain glances. By the end, romance in the abstract becomes something much more real — and we can’t help but fall for all these characters ourselves.
  17. The Killing of a Sacred Deer
    To see an unfettered nightmare like this from such an idiosyncratic director feels like a cruel treat, and a welcome stylistic stretch.
  18. Wind River
    Although the resolution to the mystery wouldn’t do credit to a third-rate thriller, it’s crazily powerful — sudden and bloody but with no real catharsis, just a sense of waste and a feeling of, “What now?” I’m not sure how Sheridan would answer that — not that an artist really needs to.
  19. Air
    Air might seem at first like a ridiculous idea for a movie, but it is in fact an ingenious one.
  20. Spider-Man
    Despite all the computer-generated effects and highflying superhero theatrics, this roughly $120 million movie is, with few exceptions, remarkable only in its small human touches.
  21. John Wick: Chapter 3 - Parabellum
    The movie should by rights be a “Wow!” But it feels bloated, self-conscious, and pretentious, with long waits between its few dazzling fights. Evidently, it’s hard to build on a premise that’s basically so vacuous and dumb.
  22. The Raid: Redemption
    Once the action starts - and it starts very quickly - The Raid is relentless, breathtaking in its sheer propulsive majesty. But it's also shot through with moments of bleak poetry amid the carnage.
  23. Supernova
    Supernova isn’t adapted from a play, but it sometimes feels like it was, not because of its talkiness or the tightness of its focus, but because it has a tendency to be a little blunter in practice than its understated initial tone might have you expect. The performances are lovely, though, and they carry this minor-key movie through to its ambiguous end.
  24. Beyond the Lights
    Beyond the Lights is a deft, gorgeous movie. For all its honesty, it’s never slow, and for all its criticism of the music industry, it’s never finger-wagging.
  25. The Impossible
    I'm not sure any other actress today could have pulled this off without seeming cheap or manipulative. The same, unfortunately, cannot be said for the movie itself, which often traffics in the manipulative.
  26. Big Animal
    Audiences for this film should have no such qualms: When the camel lolls his jaws at dinnertime, or sways his Bactrian bulk, you may decide you've never seen anything quite so hilarious -- or magnificent.
  27. Super Size Me
    Spurlock's movie is an attack on our eating habits, but it's also a prime example of an all-American sport--making a spectacle of oneself for fun and profit. Spurlock, you'll be surprised to learn, is developing a TV spinoff, with himself as host.
  28. Le Week-End
    Le Week-End is a marital ­disintegration–reintegration drama that opens with a dose of frost and vinegar and turns believably sweet—and unbelievably marvelous, in light of what had seemed a depressing trajectory.
  29. Exiled
    If you’ve never seen a Johnnie To crime picture, Exiled is a simple, stylish, and utterly delightful introduction.
  30. Hoppers
    Hoppers is a fun, modest little movie with enough zip and charm to keep kids engaged, and as such, one doesn’t want to criticize it too much. But the memory of what Pixar once was, the behemoth that redefined animation for multiple generations, may still make us wonder where all that energy and originality and artistry went.
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