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. Overboard
    By shifting its perspective and updating its anxieties, Overboard is a decent-to-great model for a rom-com renaissance, the kind of film that sends one out on a high note great enough to blur many of the blemishes that have come before.
  2. Most Likely to Murder
    Most Likely to Murder, a perfectly fine and forgettable story about a man who still has some growing up to do coming back to his childhood home, is not the worst or the best, merely the latest.
  3. Let the Sunshine In
    Cream-puff light, but is deceptively rigorous, and about so much more than one woman’s quest to find the One.
  4. The Rachel Divide
    Early in The Rachel Divide, a commentator describes Dolezal as a Rorschach blot, and the movie is one, too. Some people think it’s a hatchet job, others that it gives its subject’s commitment to social justice too much credence. I found it pretty much down the middle.
  5. The Seagull
    Despite a few scenes that are too on the nose, The Seagull... turns out to be very fine. Above all, it’s a platform for a handful of definitive performances.
  6. The Party's Just Beginning
    A brutal, meandering depiction of a quarter-life crisis, Gillan’s script is staunchly resistant of silver linings or “it gets better” messaging.
  7. McQueen
    Thanks to a beautifully lush, moody score by Michael Nyman and great sound editing, even a fan who has pored over these archives obsessively will see them in a new light. What McQueen reminds those obsessives and laypeople alike is that fashion is an incredibly emotional art form, and McQueen’s work was some of the most moving there was or ever will be.
  8. Cold Water (1994)
    Cold Water has the kind of emotional purity that puts it in a class by itself. Its blue fog envelops you.
  9. Duck Butter
    Duck Butter is a lot — I felt dizzy upon leaving the theater, like I myself had just gone through that same wired 24 hours the protagonists did. For that, I have to give Arteta and Shawkat props — and as the writing debut for the latter, it isn’t shabby at all
  10. Disobedience
    Disobedience isn’t packed with surprises, but that’s not why you go to a movie like this. You go to watch humans with wayward emotions labor to make peace with (or opt to war against) a formal, ritualized way of life.
  11. Avengers: Infinity War
    Flagrantly, bombastically extravagant, it plays its audience like a hundred million fiddles.
  12. Mary Shelley
    This is clearly all fantastic material for a film, but the problems begin with the woeful miscasting of Elle Fanning as the title character, and continue from there.
  13. Tully
    The title character in Tully, the third collaboration between director Jason Reitman and screenwriter Diablo Cody, doesn’t make her entrance until well into the film, after it’s established that the protagonist, Marlo (Charlize Theron), is moving from postpartum depression to postpartum desperation — and that’s when the movie enters uncharted territory and comes to life.
  14. I Feel Pretty
    The plot-engine joke — that Schumer’s character Renee hits her head and wakes up convinced she’s gorgeous — is nothing if not well-intentioned, but veers into cheap and easy enough times to be misinterpreted. When it’s good, though, and when Schumer’s fully locked into her take-no-prisoners charm assault, it’s pretty undeniably delightful stuff.
  15. Grace Jones: Bloodlight and Bami
    During the many scenes back home in Jamaica, blessed with the lively Jones clan as subjects, the director doesn’t have any idea what to do with her camera.
  16. Rampage
    I’m not terribly convinced that the overtly campy version of this film would be any better, but I’m very certain that this one is bad.
  17. Where Is Kyra?
    In Where Is Kyra?, Michelle Pfeiffer is stunning as a desperate, near-destitute woman whose life is shrouded in darkness.
  18. Lean on Pete
    There’s a lopsided quality to Lean on Pete that will particularly destabilize viewers (like myself) who are unfamiliar with Vlautin’s book. It has three distinct acts, and the last one feels like a very different movie indeed — its turn of events aren’t implausible, it just feels like they keep going well past the logical finish line.
  19. Blockers
    Blockers, for all its high-velocity raunch and drug abuse, is fundamentally positive.
  20. Chappaquiddick
    Chappaquiddick is somehow both cynical and deeply inquisitive about the morals of every character involved.
  21. A Quiet Place
    The movie suffers from having no obvious endgame, and it’s not as fun as the recent, less tony shut-the-hell-up horror movie Don’t Breathe. But it’s aggressively scary.
  22. Outside In
    This is an conversation- and character-driven film with an occasional eye for something more ineffable, but Falco and Duplass’s complicated, nakedly searching performances are the main event.
  23. The Last Movie Star
    The (elderly) Burt Reynolds vehicle The Last Movie Star strikes a note of banality in its first sequence from which it rarely deviates.
  24. Love After Love
    The performances could hardly be better — with the exception of O’Dowd, who’s good but maybe needed to find just one redeeming moment. (The writers could have helped.) As for Andie McDowell, I haven’t changed my thinking about her amateurish work in almost everything but "Sex, Lies, and Videotape," but I also see that with the right material her inward demeanor can be powerful.
  25. Gemini
    The film’s conclusion leaves a lot to be desired, which is unfortunate given how well it weaves its atmosphere and small ensemble together.
  26. Ready Player One
    There’s not much wrong with the movie on its own terms. But there’s nothing great about it, either. It doesn’t have the breathless exuberance, the highs, of Spielberg’s best “escapist” work, maybe because everything is so filtered, so arm’s length.
  27. I Kill Giants
    It’s at once familiar and unsettling, with shades of "Pan’s Labyrinth" and "Return to Oz."
  28. 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.
  29. Final Portrait
    Rush is a wonder. It takes bravery to convey closure, tunnel vision, total indifference to the camera that actors always know is there, however self-effacing they might want to be appear. Final Portrait is, like Rush’s performance, a miniature, but there’s a fullness to Tucci’s vision transcending every surface.
  30. Isle of Dogs
    It’s a series of moving paintings, tableaux vivants, a goofy dog comedy, a grim totalitarian allegory. It’s sui generis. It’s the damnedest thing.
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