New York Magazine (Vulture)'s Scores

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For 3,957 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 0.6 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: 2,217 out of 3957
  2. Mixed: 1,377 out of 3957
  3. Negative: 363 out of 3957
3957 movie reviews
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  1. Widows
    The movie, believe it or not, gives pleasure. It’s a stark, violent, cynical but thoroughly entertaining caper picture.
  2. Halloween
    Green’s Halloween doesn’t have the geographical simplicity — the elegance — of Carpenter’s. It’s a bit all over the place. But I love how he takes memorable images from the original and turns them on their heads.
  3. The Children Act
    In the hands of "Iris" and "Notes on a Scandal" director Richard Eyre, McEwan’s story is stagy and austere, taking place in gleaming flats and spotless courtrooms, like a Nancy Meyers movie with more court wigs. It’s a wan, sapped atmosphere, making the life, faith, and literal blood of a 17-year-old boy all the more stark a line to run through it.
  4. A Star Is Born
    I have zero doubts about the first half of A Star Is Born — it couldn’t be more charming.
  5. First Man
    First Man might be the most grounded space movie ever made — grounded in the tension between technology that’s almost laughably fragile (the astronauts really do seem as if they’re going up in tin cans) and the sheer evolutionary imperative of family.
  6. Fahrenheit 11/9
    This isn’t his smoothest film, but it’s his fullest and most original. It’s also his most urgent, which is really saying something. It’s one of the most urgent films ever made.
  7. Peppermint
    Peppermint has no surprises up its sleeve, and casting Jennifer Garner as the put-upon housewife turned gun-toting vigilante doesn’t change that. If anything, changing one element of the formula does more to expose its dullness than the same movie starring Liam Neeson.
  8. Sierra Burgess Is a Loser
    From the script to the music to the unfinished-feeling sound edit — nothing about Sierra Burgess feels like it got past a first draft.
  9. Operation Finale
    The fleeting good moments in Operation Finale come from a few of the actors.
  10. Roma
    Cuarón never seeks a tidy resolution for their loving, lopsided, complicated relationship. But it’s one of the reasons why Roma leaves such a deep and lasting impression.
  11. Destination Wedding
    Levin’s dialogue is relentless. Every line and retort is a punch line, and every punch line more or less amounts to Lindsey and Frank telling each other how much they stink.
  12. The Happytime Murders
    The Happytime Murders turns out to be a stupefyingly sh—y puppet movie.
  13. Crime + Punishment
    Crime + Punishment makes you angry and scared in equal measure. What it doesn’t do is illuminate the sources of this evil. What about the majority of cops who know the 12 are right but shun them anyway? Would you trust them if they stopped you on the street?
  14. Minding the Gap
    The skateboarding and camaraderie are contrapuntal notes, liberating flurries of motion in a powerful saga of kids who were — and in some cases still are — miserably stuck in place.
  15. Skate Kitchen
    It never gets tiring to watch the girls coast down the Manhattan streets, cocky and breezy and effortless, turning the heads of younger girls who gaze at them, starstruck. But it’s also featherlight, not meant to endure much longer than those brief airborne moments Camille and her friends live for.
  16. A Prayer Before Dawn
    So there you have it. A Prayer Before Dawn: Fine entertainment. Fine teaching tool.
  17. The Wife
    That’s what’s great about The Wife: Joe is no saint, and his philandering appears to be an open secret in the literary community, but it doesn’t mean Joan doesn’t love him. If she didn’t, none of this would be half as wrenching.
  18. Blaze
    Blaze’s best scene features Kris Kristofferson as Foley’s once-abusive, now near-senile father and Alynda Segarra as his sister, who escaped the old man’s malevolent influence by finding Jesus.
  19. To All the Boys I've Loved Before
    Condor is a ready-made star, and Centineo rises to meet her, the adoring, throaty lunk any introverted teen dreams of coming around and melting away her shyness. Theirs is a teenage romance I can believe in, despite its ridiculously convoluted circumstances.
  20. The Meg
    It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters when it could be spending it with, you know, the giant shark.
  21. 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.
  22. BlacKkKlansman
    BlacKkKlansman is a nuanced story of race in America, but Lee doesn’t take any chances with vagueness or ellipses, nor should he. As much as BlacKkKlansman plays with the mechanics of blaxploitation fantasy, it doesn’t leave one with any question about what’s real.
  23. Madeline's Madeline
    Thrillingly confounding.
  24. The Darkest Minds
    The Darkest Minds is just too foggy to make out much of anything in.
  25. Night Comes On
    Though slow, it’s intense, and you’re hooked from its first scene — Angel’s final meeting with the detention authorities — to its last, wrenching image. Spiro is a real filmmaker.
  26. Christopher Robin
    It is one of the more sadistic family films I have ever seen, a picture of the residents of a neglected childhood reckoning with the abandonment of their beloved, now grown-up human leader.
  27. The Spy Who Dumped Me
    It’s tough to sustain a story line this thin for two hours, and the movie runs down at the two-thirds mark.
  28. The Miseducation of Cameron Post
    Cameron Post is the kind of film that openly courts falling into the cinematic limitations of an “issues film.” Akhavan’s sense of place and ensemble do a lot to counter that, but that specificity ends with the main character.
  29. Scotty and the Secret History of Hollywood
    You don’t have to be a moralist to see the tragedy of Scotty Bowers’s life. You only have to have an eye for things that don’t fit comfortably. Tyrnauer has that, as well as the compassion not to probe too deeply. What’s onscreen is enough to make you conclude that you can’t make people truly happy without fixing the world.
  30. What They Had
    There’s raw power in Chomko’s writing, but so much scrupulousness and craft that you feel safe when the time comes to weep.
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