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. First They Killed My Father
    Amid all the important facts, I longed for something unnecessary from the filmmaker, some expressive flourish whose sole purpose isn’t just to convey information. Again I find myself typing the words, “It’s an unquestionably worthy story, I just wish it was told with more inventiveness.”
  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. It
    This new It has more on its mind, and gives more body and voice to King’s ideas of childhood anxieties and the corrosive power of fear.
  4. Suburbicon
    The most charitable way to view it is as a Dadaist experiment, in which two tonally disparate movies were hacked down and their remaining strands woven together to bizarre effect.
  5. The Unknown Girl
    Every Dardennes movie is worth seeing, and The Unknown Girl has all kinds of gripping undercurrents.
  6. Trophy
    Nothing in Trophy shakes out neatly, because everyone onscreen has his or her own set of values and every value is in conflict. The movie is richer in every way for its tangled sympathies. It will leave you angry, sick, and confused — but not smug. Never smug.
  7. mother!
    For all its feverish activity, Mother! feels static.
  8. I Do... Until I Don't
    The movie’s satirical backbone softens and dissolves, and watching it go wrong might make you realize it wasn’t that good to begin with — that Bell had been getting by on energy and the audience’s goodwill.
  9. 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.
  10. Beach Rats
    The film is at its best when it lets Dickinson’s deceptively blank face and Hélène Louvart’s lyrically natural cinematography tell the story, which is far more informed by mood than events.
  11. The Hitman's Bodyguard
    The whole film feels slightly grubby and low-res, like it’s been languishing in private mode on the filmmakers’ pre-HD YouTube page since 2008.
  12. Patti Cake$
    It’s a real crowd-pleaser, and I hope a lot of people will be inspired by its mixture of grittiness and uplift. But it also demonstrates that showbiz go-for-it stories are more alike than unalike, even when they have a vivid countercultural vibe and feature actors who don’t conform to (Hollywood white male) studio ideals.
  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. Gook
    The images of polo-shirt wearing Asian men with rifles lining the rooftops of Koreatown is one of the more troubling images from April 1992. Gook purposefully chooses not to tell a story of that scale, but I did wish it could have found more moral complexity in the corner of the city it chose to depict.
  15. Crown Heights
    We’re left floored by the facts of Colin Warner’s case; the film itself falls away.
  16. Logan Lucky
    The whole movie is a trick, reversing our expectations at nearly every turn and casting actors in roles that they were not exactly born to play, but do so with relish.
  17. Lemon
    It’s the work of a filmmaker who has been honing her own jarring, idiosyncratic sense of rhythm and character for years. As a debut feature, it feels auspicious; as a snapshot of a masculine emergency, it feels timeless.
  18. Marjorie Prime
    The sci-fi chamber drama Marjorie Prime is exquisite — beautiful, intense, shivering with empathy.
  19. The Trip to Spain
    The Trip to Spain plays like it’s no big deal — a throwaway — but it’s consistently funny, its bitterness nudging the sweetness into complexity, its sweetness tempering the soupçon of despair. If that also sounds like a food review, well, someone has to write one.
  20. Annabelle: Creation
    There’s nothing cheap about the rest of Annabelle: Creation, so this scattered finale felt like a letdown.
  21. The Glass Castle
    Even those of us willing to accept that there are many different shades at work here will likely feel the foundation of the film fall out from under us by its conclusion.
  22. Ingrid Goes West
    Director Matt Spicer’s Sundance breakout is a friend-crush tale as old as time, modeled almost to a T on "The Talented Mr. Ripley" (without the murder). As such, your mileage will vary depending on whether or not you’ve ever been to Café Gratitude and how much of a tolerance you have for Aubrey Plaza.
  23. An Inconvenient Sequel: Truth to Power
    As a character study, it’s highly successful, but given the context it will be watched in — albeit not quite as oxygen-deprived and manic as Sundance — it feels a little too pat.
  24. Step
    There are many films that attempt to illuminate the world through pain, but Step is most instructive in its moments of joy.
  25. The Dark Tower
    As a mascot, McConaughey embodies the movie’s lack of conviction, but as an indication that a star could conceivably be computer-generated with no loss of affect or facial mobility, he might inspire the next generation of bloodless fantasy epics.
  26. Kidnap
    This is a low-stakes, no-frills, point-A-to-point-B crime thriller, taking inspiration from every parent’s worst nightmare, and pretty much nothing else.
  27. Wind River
    Although the resolution to the mystery wouldn’t do credit to a third-rate thriller, it’s crazily powerful — sudden and bloody but with no real catharsis, just a sense of waste and a feeling of, “What now?” I’m not sure how Sheridan would answer that — not that an artist really needs to.
  28. Detroit
    Bigelow and Boal don’t bring much moral complexity to Detroit. They don’t illuminate the psyches of the cops or suggest the fundamental feeling of weakness that drives people to violence. They don’t shed much light on Dismukes’s inaction or subsequent thoughts about what he didn’t do. What Bigelow does — incomparably — is put us in that room with those people at that moment.
  29. Atomic Blonde
    You don’t go to operas for dancing or ballets for singing, and you don’t see Atomic Blonde for anything but a badass female protagonist crunching bones and pulping faces in gratifyingly long takes or remarkable simulations thereof. The auteur here is literally the stunt man.
  30. 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.
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