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. First Position
    Kargman is light on her feet, and she has chosen to follow a fascinating group of kids preparing for the 2010 Youth America Grand Prix.
  2. Dungeons & Dragons: Honor Among Thieves
    The film’s set pieces are built around comedy, with bits of (cleverly choreographed and directed) action and suspense to add some urgency, not the other way around.
  3. Pusher
    Each film in Nicolas Winding Refn's mesmerizingly brutal Pusher trilogy can stand on its own, but it's fun to see all three and observe the way the bad guys in one become the sympathetic heroes (or anti-heroes) in another.
  4. El Conde
    Beneath all the genre theatrics, what comes through most vividly in El Conde are Larraín’s sadness and rage at what happened to his country.
  5. The Life of Reilly
    Occasionally you see a documentary and it hits you how much you don’t know about someone who was part of your mental landscape.
  6. I Served the King of England
    Menzel’s touch is sprightly, lyrical, mischievously understated.
  7. Gangs of New York
    Stunning, and it has the added bonus of being about an era that is virtually new to movies. As a dramatic achievement, however, it is not quite so amazing.
  8. The Rookie
    What saves it is Dennis Quaid.
  9. Slow West
    If Slow West never quite settles on a tone to call its own, it does still offer many pleasures. Fassbender and Smit-McPhee are excellent — the boy's outward bewilderment and unpreparedness play off well against the cowboy’s ragged, stone-faced charisma.
  10. Midsommar
    The most ambitious horror blurs the line between the psychological and the mythic, between ordinary human emotions and symbol-laden Blakean nightmares, and Aster is very ambitious and very blurry.
  11. Society of the Snow
    What elevates the film above trauma-porn gore and pushes it into transcendence, though, is how its philosophical script and unshakeable performances navigate the question of whether survival is a transgression against God.
  12. Die My Love
    It’s not a film that fully works, but it’s a performance that’s monumental — and very grown up.
  13. Is This Thing On?
    We’ve seen Arnett play variations on his character before, sardonic and self-deprecating. It’s Dern who’s the revelation as a woman who truly doesn’t know what she wants, and who is figuring it out in real time in a way that’s a delight to watch.
  14. Shame
    McQueen films his characters like specimens in a jar, but the stakes are so high that the actors deliver.
  15. Brick
    Writer-director Rian Johnson gives the usual teen angst an entertaining kick. But the joke wears off, and what's left is as convoluted and monotonous as any conventional hard-boiled mystery.
  16. Doctor Strange
    This is a rare case in which Marvel has freed a director’s imagination instead of straitjacketing it.
  17. The Suicide Squad
    With its incessant profanity, ridiculous body count, and trollish sense of humor, Gunn’s film often seems content to exist in a constant state of rug-pulling. Lots of fun but little forward momentum.
  18. The Sheep Detectives
    A fascinating movie for kids, but it’s an improbably effective and tear-jerking one for adults as well.
  19. Walk the Line
    There are too many musical performances in this movie, even for a country fan such as myself, to keep the city slickers engaged. This bespeaks great faith in the charisma of the stars, who merit it. They also, however, deserved a better script.
  20. When Marnie Was There
    When Marnie Was There may start off a bit awkwardly, but it'll have you bathing in your own tears by the time it's over.
  21. Pusher III: I'm the Angel of Death
    Each film in Nicolas Winding Refn's mesmerizingly brutal Pusher trilogy can stand on its own, but it's fun to see all three and observe the way the bad guys in one become the sympathetic heroes (or anti-heroes) in another.
  22. Late Night with the Devil
    The cast makes Late Night With the Devil more than watchable, but they also raise our hopes for something better. While the talk-show approach makes perfect structural and narrative sense, it also drains the film of suspense, as we pretty much know where everything is going.
  23. Joan Didion: The Center Will Not Hold
    Her ability to take in the chaos and darkness of the ’70s and find some kind of acceptance through her writing is what makes her as relevant as ever.
  24. Step Into Liquid
    Inspires the requisite shock and awe, but a little goes a long way. About the fifth time I saw someone slip-sliding away from a 60-foot wave, I longed to hear someone on the soundtrack say, “That guy is really nuts.”
  25. Jack Smith and the Destruction of Atlantis
    It's Jordan’s feat to make a linear, talking-heads documentary (among the heads are Jonas Mekas, Robert Wilson, John Waters, Nick Zedd, and John Zorn) that still manages to evoke something of Smith's floating, ravishingly colorful dreamscapes--a menagerie of creatures that, even as they're captured on film, are already fading into the air.
  26. The Incredible Jessica James
    The Incredible Jessica James is a little odd duck of a film, an old-fashioned romantic comedy that’s decidedly modern in its frame of reference, a character-driven piece that never lets us too deep into its protagonist, a movie as pleasant as it is fleeting.
  27. Scales
    Saudi director Shahad Ameen’s mesmerizingly bleak fable Scales accomplishes something many films attempt but generally bungle: It tells a highly symbolic tale while conveying recognizable human emotions.
  28. Eileen
    Eileen may ultimately be a little thin, but it’s a bracing watch, powered not just by its two main performances but also by Ireland in that small but powerful role as a wretched enabler.
  29. The Shrouds
    Cronenberg is transmitting to us from the borders of death, behind the enemy lines of inconsolable grief. And the man’s mind is still so alive that it seems churlish to ding this movie for being so — God, this isn’t the word I want to use, but I must — lifeless. Sadly, the inertia eventually gets to us.
  30. The Kill Team
    The Kill Team, an essential film no matter what your political convictions. The setting is Afghanistan, but it might be Iraq or Vietnam or anywhere with occupying forces. It might be Gaza. This map of hell is timeless, placeless.
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