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. The Tribes of Palos Verdes
    It’s a gorgeous-looking, sensitively edited film to be sure, but never finds a dramatic foothold, no matter how many manic arguments and drug overdoses it throws our way.
  2. Voyeur
    By its close, Voyeur spouts some lines about how we all like to watch, and we are left with three documents of the Voyeur’s Motel and no closer to knowing why we should care.
  3. The Disaster Artist
    The Disaster Artist is primarily a pedestal for the ultimate James Franco performance — it’s his "Lincoln." Whatever my queasiness about laughing at a head case, I couldn’t help myself from thrilling to Franco’s timing, his relish, his swan dive into an egotism that has no bottom.
  4. The Man Who Invented Christmas
    An altogether warm, sharp, and unobjectionable family holiday film.
  5. Call Me by Your Name
    Chalamet gives the performance of the year. By any name, this is a masterpiece.
  6. Brimstone & Glory
    Brimstone & Glory, in a lean 67 minutes of cinematic poetry, bears that love out in dizzying extremes.
  7. Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
    You come away from Jim & Andy wondering — not for the first time — about the cost to great artists of what they do, envious of their talent and thinking, “I’m glad that’s not me.”
  8. Wonder
    Wonder has an overflowing humanism that extends to less-sympathetic characters.
  9. Coco
    One of the films best visual treats are its alebrijes, the colorful fantastical creatures from Mexican folk art, rendered here as electrically colored lizards and gryphons that seem to pop off the screen even without the aid of 3-D.
  10. Mudbound
    Mudbound could have easily turned out as a kind of dusty, respectable period drama that looks important while advancing nothing, but it exceeds expectations with every new layer.
  11. Justice League
    Like most “universe” movies, this one has about five beginnings and then segues into a round-up-the-team section that ought to have been sure-fire. But the banter has a droopy, depressed air, as if the actors know they’re coming from behind.
  12. A Fantastic Woman
    I just wish Vega and Lelio let us in a little more to see her as an individual, aside from the hostility she encounters.
  13. Murder on the Orient Express
    To return to why Murder on the Orient Express was remade: Beats me. Maybe it’s someone’s idea of counterprogramming when every other film in the multiplex is for kids or yahoos. Maybe it’s a tax shelter.
  14. Daddy's Home 2
    This is a toxic, not at all benign film.
  15. A Gray State
    It’s intermittently successful, but even in its more meandering moments it is a gripping, almost unbearably dark watch.
  16. One of Us
    Grady and Ewing use music as scary as in any horror film. They had no interest in making an “objective documentary,” although I doubt the Hasidim would have made themselves available to two women with a camera and their own hair. In such cases, they usually say, “If you want to understand us, read the Torah.”
  17. Three Billboards Outside Ebbing, Missouri
    I confess that I had a hard time reconciling McDonagh’s madcap incongruities with the horror of the original crime and the grief of a mother struggling to cope with so primal an injury. Are the people who love the movie less rigid in their tastes? Or has McDonagh succeeded in so thoroughly psyching them out that they’re afraid to call foul?
  18. My Friend Dahmer
    It would be misleading to call My Friend Dahmer “entertaining,” but I got off on its fuzzy sense of dread, its poker-faced ghoulishness.
  19. Lady Bird
    It’s a flittery movie, too, but with soul: Gerwig has a gift for skipping along the surface of her teenage alter ego’s life and then going deep — quickly, without fuss — before skipping forward again.
  20. A Bad Moms Christmas
    A Bad Moms Christmas is a film about women trapped in a bleakly infantilizing suburban hellscape with horrible lighting, whose only idea about how to subvert their situation is to scream and push people and hit each other in the crotch.
  21. Novitiate
    Betts has succeeded in capturing a watershed moment in the life of the Catholic Church — a push to adapt that is, in important ways, at odds with its very origins. Her irresolution makes for excellent drama.
  22. Jigsaw
    Watching Jigsaw go about his torture business is about as interesting as watching a child burn ants — a dumb and ugly waste of energy, resources and time.
  23. Only the Brave
    Only the Brave feels like a film that would have made sense coming from Peter Berg or Michael Bay, but Kosinski mostly pulls back on the macho cheerleading to find something more objective, and ultimately, deeply emotional.
  24. Thank You for Your Service
    Thank You for Your Service is a more critical film than most in this milieu, and it’s refreshingly honest about mental-health issues.
  25. Thor: Ragnarok
    This one is probably my favorite, being the most unlike the others.
  26. All I See Is You
    As a psychological not-quite thriller, it’s consistently entertaining; as a visual exercise, it’s more adventurous than most would be.
  27. Jane
    Morgen gets a little Terrence Malick-y for my taste, too, as he revs up for the big finish.
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