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. Japan
    Reygadas is both a sophisticate and a primitive: He sets up his film as a religious allegory, with the nameless painter as a kind of suffering Christ and the old woman--whose name is Ascen, as in Ascension--as his redeemer.
  2. Escape Plan
    Here are two action stars having fun; watching them work together as a team is a lot more entertaining than you might have expected. Try not to think too hard about it, and Escape Plan is stupid, stupid fun.
  3. Sunshine
    They’ve taken "2001" and Tarkovsky’s "Solaris" and "Silent Running," mixed in stuff from save-the-earth pictures like "The Core" and "Deep Impact," and thrown in a cheesy climax out of "Alien."
    • 74 Metascore
    • 70 Critic Score
    Kundun
    Gorgeously shot and utterly respectful of the story of the fourteenth Dalai Lama, but it’s dramatically inert.
  5. Cloudy with a Chance of Meatballs 2
    While it was often all over the place, it worked, because directors Phil Lord and Chris Miller ladled out the chaos with such charm.
  6. Bushwick
    Bushwick is actually an amazing template for the kind of virtual-reality entertainment that I bet will be common in a decade or two.
  7. Cold Turkey
    Cold Turkey is a simmering piece of holiday dystopia with a good, scorching boil-over.
  8. RoboCop
    It’s a rare “reboot” that transcends its studio’s money-grubbing. It has some Big Ideas.
  9. POM Wonderful Presents: The Greatest Movie Ever Sold
    It's surprising that The Greatest Movie Ever Sold plays so entertainingly, given that Spurlock's quest is essentially beside the point.
  10. Iraq in Fragments
    In the end, the movie is more than the sum of its fragments. The montages are intense, the images ravishing. The movie is tactile. When you finally feel this place, you understand just how little you understand.
  11. 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.
  12. SPECTRE
    The new James Bond movie Spectre makes a satisfying final chapter to the four-film saga of Daniel Craig’s 007, even if that saga turns out to be less than the sum of its parts.
  13. Whitney: Can I Be Me
    As is often the case in documentaries like this, absorbing all those details as part of one, tightly edited story gives them an impact they lack when digested in individual pieces over time.
  14. Trance
    To like Trance as much as I did, you have to revel in the senseless showmanship — in watching Boyle indulge his taste for cinematic flight, in this case teasing you with the old “Is this real or a dream?” number so artfully that you don’t care that much about the answer.
  15. Are You There God? It's Me, Margaret
    If the grown-ups in this coming-of-age story keep drawing all the focus, it’s no shade on Margaret — they just have so much more going on.
  16. The Good Dinosaur
    The resulting film is amiable, pretty, and charming in all the right ways — even if it ultimately settles for a fairly typical tale of a late bloomer finding his way.
  17. Jackass Presents: Bad Grandpa
    For all the fecal matter flying around, and all the dick jokes, Bad Grandpa turns out to be an act of redemption: It’s the anti-Borat. And for all its flaws, it might just be the most heartwarming movie of the year.
  18. Agora
    Weisz is an excellent Hypatia. For all her intelligence, there's something childish, off-kilter, vaguely otherworldly in her aura. She's just the type to be gazing into the heavens while around her all hell breaks loose.
  19. The War Tapes
    See The War Tapes. Maybe this picture can be worth a thousand lives.
  20. Captain Phillips
    It’s when the Somalis spirit Phillips away in a closed lifeboat that Captain Phillips becomes a great thriller, in part because Barry Ackroyd’s camera is stuck inside with the characters and its jitters finally seem earned.
  21. Tropic Thunder
    All over the map, but it's worth enduring the botched gags, formula plotting, and even the racism to marvel at the genius of Robert Downey Jr.
  22. The Lodge
    As a psychological down-is-up horror movie, The Lodge has a few solid tricks up its sleeve. But when the smoke and mirrors clear, it’s ultimately a story about trauma, and a rather bleak one at that.
  23. Gran Torino
    The movie is ludicrous, but Eastwood’s consistency is poignant. He has an agenda and sticks to it.
  24. Chinese Puzzle
    Chinese Puzzle isn’t much of a story, but in leaning into and embracing its complications Klapisch is able to isolate little instances — exchanges, glances, fragments from which he can mine profundity. That may feel like a cheat, but it isn’t, because this is a world where the moment conquers all.
  25. The Fault in Our Stars
    The film does, however, have the best weapon in the world against the perception of slickness: an actress without a smidgen of actressiness.
  26. Laggies
    We basically know where Laggies is headed; the film is a soft, straight, easy pitch down the middle, story-wise. And it’s a light movie: You won’t get a particularly profound look at adults who act like kids from it.
  27. Dark Blue
    Powerful, uneven police drama.
  28. 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.
  29. A Haunting in Venice
    This is an eerily silent work, full of long pauses and distant, baffling sounds; even the score seems to be mixed low, as if it were drifting through a window, a dark memory. Branagh also plays with the rhythm, using pace and composition to set us ill at ease. Vast stretches of darkness in the frame are cut through with shocks of color.
  30. Irreversible
    Noé shoots his sequences in long, unbroken takes, and the unblinking horror that results is, I think, the opposite of exploitation. There has been so much lurid bloodletting in the movies that you might think nothing could faze us anymore. Think again.
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