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. Koch
    The film is a canny balancing act, making Koch's arrogance so plain that you quickly move past it and concede that he accomplished remarkable things for a city that was broke and in chaos and with much of its housing stock in ruins.
  2. The Last House on the Left
    There's a huge change that turns the nihilistic carnage of Craven's original into something suffused with old-fashioned family values, so that we can relax and enjoy watching the bad guys get beaten, skewered, dismembered by garbage disposals, and tortured with microwave ovens.
  3. Avengers: Endgame
    Even at three-plus hours, the gargantuan Avengers: Endgame is light on its feet and more freely inventive than it needed to be. Given the year-long wait, its audience — Pavlovian dogs, myself (woof!) included — would have salivated over less. It’s better than Avengers: Infinity War, which was better than Avengers: Age of Ultron; and it is, for a change, conclusive.
    • 71 Metascore
    • 70 Critic Score
    Without Limits
    Even if the film is more thoughtful than pulse-pounding, the intelligence brought to bear is appropriate for a sport that’s as much about mental toughness as it is physical skill.
  5. Architecton
    Architecton comes across as a more plaintive depiction of our desire to imagine ourselves able to leave a lasting mark on this planet.
  6. Cuba: Island of Music
    Keys takes a scattershot approach to Cuban music, filming not only specific artists, like Los Cohibas and Los Zafiros, but also street musicians in the barrio and just about everywhere else he can find them.
  7. From Paris with Love
    Morel will inevitably be compared to John Woo, whom he trounces. He has fewer mannerisms (no damn doves) and a keener eye; his fastest, most kinetic shots flow together like frames in a flipbook.
  8. Richard Jewell
    I think Eastwood’s audience is going to eat this movie up, and maybe even turn it into a rallying cry. The legacy of the bombing of Olympic Centennial Park might end up suiting the bomber just fine.
  9. The Awakening
    The Awakening has the good sense to find a mood and stick with it. It's not afraid to take itself seriously. It'll send shivers up your spine, both as a thriller and as the melodrama it eventually becomes.
  10. Jackass Forever
    Jackass Forever is a kinder, gentler Jackass, but thankfully, it’s not a more mature one.
  11. Labyrinth of Lies
    Here’s a movie about the efforts to bring the soldiers stationed at Auschwitz to justice, and it’s strangely light on its feet.
  12. We Own the Night
    Gray knows how to sell the idea of unalterable destiny with a car chase: That’s the mark of a real action director.
  13. Tomb Raider
    The fights and chases are well designed. You can always tell where everything is in relation to everything else and who’s hitting or shooting whom — which isn’t a given, surprisingly, when fast cutting and loudness can cover a lot of infelicities.
  14. Unfriended
    Unfriended really does use everything teens cherish about their technology lifestyle against them. It’s a mean, potent little movie.
  15. ParaNorman
    In the end, perhaps the most touching quality of this film is its low-key, but sensitively rendered portrait of a young, awkward child who hasn't quite managed to figure his way out in the world yet.
  16. Moonfall
    It’s so unapologetically absurd and so very fun.
  17. Time to Leave
    As with all Ozon's work, Time to Leave resounds with grace notes. The wide-screen cinematography by Jeanne Lapoirie offsets (or maybe disguises) the movie's narrow scope, and there's something private--withholding--in Poupaud's beauty that gives his misanthropy a touch of mystery.
  18. Deadpool
    Deadpool is a send-up of Marvel movies but in no way a takedown of them. It’s not subversive — it’s meant to elasticize and enhance the superhero genre, to flatter the audience for being hip enough to get all of those in-jokes.
  19. 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.
  20. Harry Brown
    Caine makes a grave, soulful vigilante avenger, and first-time director Daniel Barber gives the film a dank, streaky, genuinely unnerving palette.
  21. A Ghost Story
    Even at its most self-conscious, there’s something lovable about A Ghost Story.
  22. Cosmopolis
    Cosmopolis is often beautiful, but at times it feels like a movie sealed off from itself.
  23. Doctor Sleep
    A score by the Newton Brothers thumps like an errant heartbeat. The actors sparkle with chemistry. At times, its aesthetic and thematic pursuits click into place and the film sings at a mournful register as it charts the generational trauma and addiction of Dan Torrance (Ewan McGregor). But Doctor Sleep proves stronger in parts than as a whole.
  24. Darkest Hour
    Everyone seems to be a walking embodiment of an essence, not cartoons exactly, but something more totemic. If all this makes Darkest Hour propaganda, then the shoe may fit, though it’s hard to find fault with its protagonist’s aims, at least in this small of a scope.
  25. Daddio
    Daddio is a classic two-hander, focusing entirely on the seesawing power dynamic between two very different individuals. As such, it’s at times theatrical and precious, a bit too on the nose with its metaphors and symbols and running themes. But boy, can it be fun to watch these two go at it.
  26. The Brutalist
    It’s impossible not to be impressed by the sheer audacity of The Brutalist’s existence, even if the finished product doesn’t end up matching its ambitions.
  27. On the Count of Three
    All of the miseries that are revealed as the two men go about their day may be bleak, but the humor comes from the small indignities inflicted on them even as they try to go out with a bang.
  28. Damsel
    More than a fantasy adventure, Damsel is a grisly and at times even touching tale of endurance and survival. It’s sweaty, snarly fun.
  29. Nacho Libre
    The movie is semi-infantile camp but often riotous.
  30. Bad Education
    May be at once too gimmicky and too sincere. But it still exerts an uncanny power: Like the best of Almodóvar’s work, it throws you a first-love sucker punch that will stagger your heart, mind, and soul.
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