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. Don't Breathe
    There isn’t a single false scare. There isn’t, come to think of it, a scare that doesn’t set up another scare.
  2. Molly's Game
    Molly’s Game isn’t the deepest movie you’ll see, but it’s both finely tuned and big-hearted. It’s a rouser.
  3. Training Day
    On a purely visceral level, Training Day is easily the most exciting movie out there right now, but as a morality tale with anything large on its mind, it's a cop-out.
  4. You Are So Not Invited to My Bat Mitzvah!
    This winning coming-of-age comedy understands that, when you’re 13 years old, the world really does feel like it could end if you’re not able to wear the dress of your dreams to your bat mitzvah, or if, God forbid, your crush expresses interest in someone other than you.
  5. Tape
    Linklater must have recognized a kindred spirit when he read Belber's play. He's given us a reality-fantasy game, a psychodrama, a harangue, and a detective story all rolled into one.
  6. Black Book
    I urge you not to pass up Black Book, especially on a wide screen. It's a marvelous movie-movie, with a new screen goddess. Van Houten has a soft, heart-shaped face on top of a body so naturally, ripely beautiful it has its own kind of truth.
  7. Lucky Grandma
    Actress and director build a symphony out of Grandma Wong’s grimaces and her glares. There are emotions in there, but she’s not about to let us get to them, and to her, that easily. And so, we are transfixed.
  8. Girls Trip
    Like "Bridesmaids," it makes no more promises than an actual night out: These people will be there, and the goal is to have a good time. And while it may not quite have the undergirding pathos of the former, Girls Trip is a very good time.
  9. Florence Foster Jenkins
    It’s a wobbly, uneven, ultimately wonderful film — its unevenness befitting its title character, who we come to love despite her loopy lack of awareness of her own deficiencies.
  10. The Theory of Everything
    If The Theory of Everything cut as deeply as Redmayne's performance, it might be on the level of "My Left Foot." But there are so damn many problems, easy to ignore at first in the elation of watching Redmayne and the gossamer Felicity Jones as his future wife, Jane, but impossible to shake off in the last third.
  11. Manda Bala (Send a Bullet)
    Kohn’s gripping Manda Bala is the opposite of a high-school science doc. It’s a free-form portrait of a place--Brazil--with scary running motifs: kidnapping, mutilation, plastic surgery, bulletproofing, and frog farming.
  12. The Yes Men Fix the World
    Outrageously entertaining.
  13. Dogman
    Dogman doesn’t have the scale of a major work, but it tugs you in and roughs you up — in a good way! It haunts you long after it ends.
  14. Get On Up
    Tate Taylor’s film cares less about narrative clarity and more about portraying a life lived between the extremes of sin and grace, between the abject and the sublime. It’s lively, stylized, and genuinely surprising.
  15. Blitz
    It’s the worst movie McQueen’s made, which by wider standards means that it’s still not bad. But Blitz’s admirable intentions consistently outstrip its execution, which is clunky and full of narrative artifices required to keep its angel-faced lead on the run from danger and from the authorities who intend to send him back to the train station.
  16. Gazer
    If Gazer doesn’t pick up the momentum needed to match Frankie’s increasingly dire situation, it’s nevertheless a pleasure to watch — a project that feels, like its heroine, unstuck in time, reminiscent of a whole other, more vibrant era of American independent cinema when the films themselves were the point and not just calling cards for a bigger commercial opportunity.
  17. The Brink
    So what makes The Brink so different from just another platform for this professional troll? Though Klayman sticks to a largely vérité approach of following her subject around and observing his various interactions, she also provides important context.
  18. Shazam!
    So Shazam! feels blessedly old-fashioned, which isn’t to say it’s perfect — or even very good. It’s certainly fun when the juvenile actors are front and center, before the CGI moves in for the last half-hour and change.
  19. Our Brand Is Crisis
    It's hard to know whether to marvel or weep when James Carville goes into his Bill Clinton–meets–Looney Tunes act in Rachel Boynton's knockout documentary Our Brand Is Crisis--the context is so morally topsy-turvy.
  20. The Room Next Door
    The Room Next Door is an alternately rapturous and ponderous meditation on mortality, though in a very Almodóvarian fashion, that exploration comes by way of a fantasy of set directing one’s own death, down to the moment, location, and outfit worn.
  21. Fort Tilden
    The movie is broad and mean and for a while very funny, but even when it goes sour — when the world slaps them in the face for their sins — it doesn’t lose its momentum.
  22. Prisoners
    Villeneuve is trying like hell to elevate what turns out to be a dumb genre picture.
  23. Rhythm 'n' Bayous: A Road Map to Louisiana Music
    Practitioners of Cajun, Creole, and zydeco music strut their stuff. So do the players of a style new to me but instantly beloved: I'm speaking of swamp pop.
  24. Amélie
    Jeunet wants us to know that times are hard for dreamers and that one shouldn't pass up a chance for true love. He means it, no doubt, but he doesn't have the simplicity of soul to quite bring off the sentiment. Still, we're charmed by the attempt.
  25. Batman Begins
    Begins, at two-hours-plus, is a nonstarter.
  26. Theater Camp
    Theater Camp really just wants to bask in the world it’s created, and it’s hard to complain about something being too affectionate.
  27. Standard Operating Procedure
    I’m not sure Morris clinches his case, but I’m not sure he wants to: His aim is to throw a monkey wrench into the cogs of our perception.
  28. I Love You, Man
    I Love You, Man is totally formulaic, but the formula is unnervingly (and hilariously) inside out.
  29. The Walk
    The problem — not fatal — with The Walk is that the narrative wire droops between the movie’s opening and final sequences.
  30. Companion
    With its clever construction and comic timing, it’s a mean romp with an escalating death count and some nice quips.
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