New York Magazine (Vulture)'s Scores

Select another publication »
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
view
per page
  1. Cold Mountain
    Cold Mountain has some marvelous, intimate moments and a real feeling, at times, for the loss that war engenders, but it also has more than its share of hokum--which would be more entertaining if the hokum were juicier.
  2. American Sniper
    It’s a cracker­jack piece of filmmaking, a declaration that he’s (Eastwood) not yet ready to be classified as an Old Master, that he can out-Bigelow Kathryn Bigelow. Morally, though, he has regressed from the heights of Letters From Iwo Jima (2006). In more ways than one, the Iraq occupation is seen through the sight of a high-powered rifle. The movie is scandalously blinkered.
  3. The Forgiveness of Blood
    [A] compelling film touching on the perils of being young - that's it, merely young - in a culture without justice.
  4. Funny Pages
    A debut as packed with promise as with underdeveloped ideas.
  5. Our Lady of the Assassins
    By the end of the movie, the characters are numbed, while the audience is sensitized to the mayhem to an almost unbearable degree.
  6. Spider-Man: Homecoming
    The breeziest, most convivial Marvel movie in ages.
  7. Prince Avalanche
    The movie barely seems to hold together. Could it even be called a movie? And yet, it's captivating — a bit like Gus Van Sant's "Gerry," but not as conceptually hidebound.
  8. The Grandmaster
    In short, I'd be the happiest person in the world if Wong announced there was a four-hour cut of this film somewhere. For now, neither version is perfect, but they’re both so beautiful, so heartbreaking, that the question may be moot. Whatever its flaws, seeing The Grandmaster theatrically, in any version, should be a sacrament for any true film lover — a spiritual duty.
  9. Gran Torino
    The movie is ludicrous, but Eastwood’s consistency is poignant. He has an agenda and sticks to it.
  10. Honey Boy
    As an origin story for a young actor’s warped worldview, Honey Boy is compelling.
  11. The Killer
    Filled with expertly composed sequences undone by the protagonist’s relentless observations about the meaninglessness of existence, the movie feels like an attempt to highlight its own emptiness.
  12. Splitsville
    Splitsville is a comedy that’s grounded in its characters, but also has a downright old-fashioned devotion to the visual, to the ways in which the farcical sight of four guys crammed onto a sofa can be just as capable of generating laughs as a good line.
  13. Results
    With this cast, and such a vivid sense of play, Results manages, in its own subtle, unassuming way, to reinvent the rom-com. It’s enchanting.
  14. Cars
    This one is dully conventional even by family-uplift standards. The details are sweated, all right: It's a triumph of perspiration over inspiration.
  15. Alias Betty
    Complicated thriller that gets more interesting as its complications pile up.
  16. Ferrari
    Ferrari is elegant and restless, with a sense throughout that something horrific might be lurking around each corner. And when the director straps his cameras on those cars and sends them on their way, the picture transforms into something more visceral and chaotic, a fever dream (or maybe a nightmare) of speed and smoke.
    • 73 Metascore
    • 90 Critic Score
    Antz
    Antz, with its deadpan witticisms, its heart-stopping shifts of perspective, is completely entertaining, a kids' movie that will leave grown-ups quoting the best lines to one another.
  18. The Lookout
    Frank's writing is razor-sharp, his filmmaking whistle-clean. As a fan of sharp razors and clean whistles, I enjoyed The Lookout--yet I did feel let down by the climax, which ought to have been blunter and messier and crazier and more cathartic.
  19. News of the World
    It feels odd to see a Western in 2020 that actually dares to be a Western, especially coming from a director who for so long specialized in urgent, high-tech, ripped-from-the-headlines thrillers. But maybe that’s not so odd a combination. News of the World has the trappings of an old-fashioned epic, but it also has a restless, modern soul.
  20. The Square
    Östlund’s eye for the subtleties of human behavior, especially public behavior, never fails.
  21. The Club
    It’s occasionally beautiful, but just as often stomach-turning. You watch it at a remove, but still with a dull combination of pity and horror and regret. Maybe that’s the idea. For a brief, agonizing moment, you share the spiritual quicksand with these disgraced men.
  22. Both Sides of the Blade
    There is something exquisitely grown-up about Both Sides of the Blade, which works its way up into a series of excruciating fights between Jean and Sara in which they talk and talk and wound one another terribly while failing to ever say what they really mean.
  23. Mea Maxima Culpa: Silence in the House of God
    Beyond the Mafia-like code of silence, it comes down to this: The guys at the top reserved their compassion for priests like Father Murphy in the belief that the boys were young and would get over it. No one of true faith will get over Maxima Mea Culpa.
  24. Megadoc
    Like the man who made it, Megalopolis is a movie that bears both the qualities and the scars of these conflicts. We probably didn’t need Megadoc to tell us this, but it remains a thoroughly fascinating look at one of the most unlikely films ever made.
  25. Battle of the Sexes
    If Battle of the Sexes is unsurprising to a fault, it’s by no means a double fault. The movie is very entertaining.
  26. Mission: Impossible - Ghost Protocol
    The movie is wonderful, nonsensical fun.
  27. Cold in July
    Before you quite know what’s happening, you’re swerving into another sort of movie altogether. And then another. You might not buy them all, but what a great ride.
  28. The Widow of Saint-Pierre
    Leconte films in an austere yet invigorated style; the action never settles into stiff tableaux.
  29. The Company
    It's plotless. It fits no category -- "docudrama tone poem" probably comes closest.
  30. Ray
    Sure, it’s the Jamie Foxx breakout role. But the movie around it is so systematically “inspirational” that it comes perilously close to sabotaging the breakout.
Page:

Top Trailers

See all »
See all trailers »