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. All the Money in the World
    It’s a real transformation. I’ve never heard this diction from her (Michelle Williams) before — sharp, with a hint of North Shore (i.e., old money) Long Island and perhaps a Kennedy or two. (The real Gail grew up in San Francisco but was well acquainted with the cadences of the East Coast rich.) Through the tension in her body and intensity of her voice, Williams conveys not just the terror of losing a son but the tragic absurdity of bearing the illustrious name Getty when family ties confer zero power.
  2. One Week and a Day
    The comedy in One Week and a Day comes from confusion, ineptitude, and alienation. It comes from people’s defenses being way, way down. It doesn’t cheapen the tragedy. It grounds it, sometimes in the mud.
  3. The Cabin in the Woods
    Is it scary? Not especially. But there are enough gory surprises around every bend to keep you laughing/screaming/cringing.
  4. Friendship
    It’s the little comedic cul-de-sacs that make the movie work as well as it does, sustaining it as much as the growing tension between Craig and Austin.
  5. Charlie and the Chocolate Factory
    It turns out that Charlie and the Chocolate Factory is half goofy-great, and half just a goof.
  6. Headhunters
    The compact Hennie is a wonderful actor, smoothly congenial when confident, uproarious when rattled. And he will be rattled-as well as stabbed, shorn, bitten, mangled, and worse.
  7. Quinceañera
    The movie does a good job of capturing how ostracism and liberation are sides of the same spinning coin.
  8. Union County
    We talk of fictional movies with documentary touches, but Union County sometimes feels like a documentary with some fictional touches.
  9. Stone Reader
    A marvelous literary thriller that gets at the way books can stay with people forever.
  10. All or Nothing
    The empathy never lifts off -- never becomes poetry. It doesn't help that Leigh indulges his unfortunate habit of larding the soundtrack with draggy, mournful music, heavy on the cello.
  11. Brittany Runs A Marathon
    On balance, I admire the hell out of Collaizo for choosing to tell a more emotionally convoluted story, even if it sometimes kills the momentum.
  12. Girl with a Pearl Earring
    Pretty much the whole movie is a series of poses, static and uninvolving, except for cinematographer Eduardo Serra’s lighting, which makes everything look convincingly Vermeer-ish. I’d like to see what he could do with Rembrandt.
  13. Promising Young Woman
    Fennell’s film is a vibrant, stylistically precise piece of work, but the sentiments it conveys don’t feel examined. It’s an acceleration off a cliff when what you’d really like to see is some kind of road forward, no matter how rough.
  14. Love, Simon
    As it turns out, the Ferris wheel is the other perfect parallel to Love, Simon, not the most thrilling ride in the park, a little slow, utterly predictable, perhaps even welcoming the label of “boring.” But like the chorus of a latter-day Taylor Swift song, it will lift you up, goddammit, and good luck trying to stop it.
  15. In Bloom
    In Bloom feels, more than anything else, like a war movie.
  16. M3GAN
    M3gan’s reach is never in danger of exceeding its grasp. It wants only to provide a diverting 100-odd minutes of horror comedy, with a heavy emphasis on the comedy.
  17. Kissing Jessica Stein
    It all works on the level of a sprightly sitcom: lesbianism for the Lucy-and-Ethel crowd.
  18. Seabiscuit
    Watching this movie, you get the feeling that the Depression existed so that Seabiscuit could be memorialized.
  19. Mickey 17
    Bong specializes in crushing capitalist dystopias, whether he’s skewering present-day South Korea or an even more stratified post-apocalyptic society, and the near-future in which Mickey 17 takes place is perverse enough for each detail to constitute its own dark joke.
  20. Happy End
    Haneke’s integration of the ways we communicate and conduct our lives via phone and laptop feels uniquely effective.
  21. His House
    Horror is often cathartic, purifying — it puts you through the wringer but you emerge on the other side, somehow cleansed. You’ll find no such succor here. His House is beautifully made, and its scares are monstrously effective, but its images of real-world dread remain unresolved, its specters unvanquished. The film leaves you with wounds that won’t heal.
  22. Steve Jobs: Man in the Machine
    Little here is new, but the archival footage is well chosen, the interviewees are illuminating, and Gibney, as usual, potently synthesizes what’s out there.
  23. Bone Tomahawk
    Bone Tomahawk is terrifying and strange, to be sure, but it’s the old-fashioned veneer that makes it beautiful.
  24. Let Them All Talk
    Let Them All Talk is a warm, enjoyable trifle, yet it has a personal edge that suggests an artist who continues to wrestle with the nature of his work.
  25. Meeting Gorbachev
    Meeting Gorbachev is a hagiography, but it’s unafraid to position itself as such; Herzog makes his case proudly and passionately.
  26. Superman Returns
    The bigger problem is that Singer’s weighty rhythms are disastrous for Superman, and the movie actually gets heavier in its last half-hour.
  27. Weathering with You
    There’s a touch of “The Ones Who Walk Away from Omelas” to Weathering With You that makes the direction it ultimately veers off into both surprisingly abrupt and darkly pragmatic. It’s also, in its own way, optimistic. Maybe, the film suggests, before anyone can think about saving the world, they have to figure out how to live in it.
  28. Infinity Pool
    In addition to being a film about soulless jet-setters as a new form of walking dead, grounded in and caring about nothing, Infinity Pool is a phantasmagoric ode to the sensation of staying too long at the party.
  29. The Outrun
    The film is, first and foremost, a visual and sonic experience. We can lose ourselves in it. I think we’re meant to.
  30. Wreck-It Ralph
    Still, it does eventually become a bit tedious, and for all the breathless kineticism of the film's second act, you may find yourself twiddling your thumbs. It's a cool game, to be sure, but watching someone else play it gets old after a while.
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