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. Ocean's 8
    I left Ocean’s 8 more convinced than ever that no amount of fierce, fantastic female ensembles can overcome the mediocrity of a dull male director.
  2. The Man Who Killed Don Quixote
    The experience of watching it, especially given its dreamlike unreality and head-scratching punnery (this is a deeply unfunny movie) is like listening to a doddering old man for whom every story — about art, politics, local goings on — ends up being about how every woman is an evil witch that can’t be trusted.
  3. Shoplifters
    Every scene adds another onion-skinlike layer, adding density and mass so slowly that you hardly notice the emotional weight of it all until it is suddenly overwhelming.
  4. Hereditary
    Just as the “French Extreme” film Martyrs set a new standard for garish sadism, Hereditary raises the bar on emotional agony. If you want to see things you can never un-see and feel pain you can never un-feel, here’s the ultimate test.
  5. Adrift
    Adrift is enough of a boilerplate piece of survival drama that you know to expect those beats more or less coming on schedule, but Woodley makes it more emotionally satisfying than it would be otherwise.
  6. Action Point
    The agreeable looseness edges into a less agreeable limpness.
  7. Upgrade
    A great and grimy little screw-turner of sci-fi schlock, the kind that they truly don’t make anymore, the kind that would make Carpenter and Cameron proud.
  8. A Kid Like Jake
    It’s remarkable how engaging and light on its feet the director and cast are able to keep this subject matter, how much permission he gives them to f*ck up and try again.
  9. American Animals
    The bigger problem is that stupidity just isn’t a very interesting subject.
  10. The Gospel According to André
    It feels like the self-admittedly emotionally bottled Talley is ready to talk about all of it. It’s too bad his biographer is less so.
  11. The Tale
    It’s the 48- and 13-year-old Jenny sitting side by side, spent, against the wall of a women’s restroom, together in their helplessness, with little to show for their pain except this extraordinary movie.
  12. Ibiza
    Ibiza doesn’t have the strength of wit and character to suffice as a hangout vacation movie, and it has zero idea how to be a romantic comedy, either. It’s not a movie, it’s Netflix.
  13. Whitney
    Two biographical documentaries in, and it still feels like we’re in need of a Houston film that digs into her music first, and the hows and whys of its enduring power.
  14. Rafiki
    Its lead protagonists and their endless reserve of raw, bittersweet chemistry are Kahiu’s greatest asset.
  15. On Chesil Beach
    Unfortunately McEwan, adapting his own work, and first-time director Dominic Cooke, have a hard time rendering the touchy, interior subject matter cinematic; a potentially promising story of an emotional and physical impasse is flattened so much as to be offensive.
  16. Burning
    There is so much fascinating, underplayed tension running through Burning.... I was a little let down, then, when Burning lost its steam in its second half.
  17. Book Club
    As it turns out, Book Club is only tangentially “about” the Fifty Shades trilogy, and that’s what makes it so smart.
  18. Under the Silver Lake
    Like any conspiracy theorist, you sense that landing on an actually airtight unified theory would almost spoil the fun for Mitchell.
  19. The House That Jack Built
    The film’s most offensive qualities have nothing to do with its grotesque violence and displays of human mutilation, but its terminal navel-gazing and reductive, borderline harmful ideas about art.
  20. First Reformed
    First Reformed is rigorously austere (as befits the author of Transcendental Style in Film), but every frame suggests a longing for a world elsewhere. It could be argued that it gets away from Schrader, who probably had to wrest the script from his own hands to begin shooting.
  21. Solo: A Star Wars Story
    Solo: A Star Wars Story hits all its marks except the one it needed to hit most: accounting for one of pop culture’s most cantankerous charismatics.
  22. Deadpool 2
    We’ve reached superhero saturation point, and Deadpool 2 is less a satire of that condition than a symptom of it. It has zero suspense — it’s too hip, too meta, for suspense.
  23. Ash Is Purest White
    By the end, the transformation of China is more compelling than Qiao’s love for Bin, but watching both unfold over time is continually thought-provoking, given the ephemerality of whole cities, much less love affairs.
  24. Climax
    I was shocked to discover that I was actually … touched. Climax is a small miracle, and if this is Noé going soft (for him, of course), that might actually be a very good thing for the movies.
  25. Cold War
    Pawlikowski understands the mythic, destructive pull such narratives have on us — as audience members and those swept up ourselves.
  26. Revenge
    Revenge inverts the gutbucket revenge genre without transcending it. That said, why should men have all the fun? The movie is like Ladies’ Night at a sleaze-o bar.
  27. Terminal
    What’s Terminal about? It’s about 90 minutes. That’s a cheap shot, but since the film doesn’t establish a baseline of reality, it’s hard to pick out a premise. It’s a series of playlets stitched together with the seams hanging out.
  28. Lu Over the Wall
    Lu Over the Wall...is every bit as imaginative as the rest of his body of work, but whereas previous Yuasa works would veer from ominous to outrageous to sweet to explicit to metaphysical, Lu is perfectly happy to stop at sweet. And so am I, quite frankly: Yuasa can be really good at sweet, something that’s often overshadowed by his more mile-a-minute tendencies.
  29. Everybody Knows
    The mystery becomes popcorn-chompingly compelling, each new piece of information adding shading and dimension to the true shape of the family. Nobody is above suspicion or below empathy.
  30. RBG
    Both the film and the “notorious” figure at its center are the best imaginable retaliation to mansplaining.
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