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. The Report
    It’s a dry, arm’s-length movie that seeps into your blood as it seeps into Jones’s.
  2. The Hoax
    The movie is too long (nearly two hours), but the acting--Gere, Molina, the peerlessly edgy Hope Davis, Marcia Gay Harden as Irving's loopy Swiss-German painter wife--keeps you giggling. And the story has something up its sleeve--a dream finish.
  3. Alexander and the Terrible, Horrible, No Good, Very Bad Day
    It’s funny, fast, and charming.
  4. Exiled
    If you’ve never seen a Johnnie To crime picture, Exiled is a simple, stylish, and utterly delightful introduction.
  5. Gloria Bell
    Gloria Bell is best when it’s least definite, when the conversations are full of awkward holes and the relationships are in flux.
  6. Waves
    They don’t feel like black characters grafted onto roles that were initially conceived of as white, but they don’t always feel entirely formed either, an impression that’s not helped by the choice to keep the siblings in largely separated narratives.
  7. The Good Night
    Jake Paltrow's comedy takes familiar male-angst material and turns it into a painful--but fun--string of jokes.
  8. 3 Hearts
    This is a deceptively weird movie. There’s always been an immediacy to Jacquot’s visual style; he likes to follow his characters closely, and he gets performances that are energetic but quiet.
    • 62 Metascore
    • 70 Critic Score
    Biggie: I Got a Story to Tell
    I Got a Story to Tell is essential viewing, provided that you’re the kind of person who can rap the first verse of “Hypnotize” from memory. You come away wishing B.I.G. could’ve dreamed bigger.
  10. Man on the Train
    As in many a French movie, especially crime movie, the philosophe and the crook turn out to be each other’s mirror image.
  11. Catfish
    Although Catfish is opportunistic, even borderline exploitive, it gets at-by indirection, through the back door-the magic-carpet aspect of this scary new medium. Real people are so complicated and irreducible, you know?
  12. The Smashing Machine
    Sports biopics are so common that one couldn’t blame Safdie for trying to avoid conventionality, but sometimes the conventions are there for a good reason. In the end, though, he understands that his greatest weapon here is his star. A weapon, and a gift: It’s nice to have the Rock acting again.
  13. Into the Woods
    I’m only half-kidding when I suggest that you see the movie but leave (especially if you have kids) at what’s obviously the end of the first act. You’ll still get the dissonances, ambiguities, and portents of doom, along with much that is pure enchantment. And you won’t leave thinking the movie had been made by the Big Bad Wolf.
  14. The Nut Job
    A delightfully goofy slapstick cartoon with a surprisingly dark heart.
  15. The Ladykillers
    It’s both lowdown and effete, a jamboree of whoopee jokes and sick wit.
  16. Animal Kingdom
    Early on, writer-director David Michôd serves up "Trainspotting"-like tricks and narration that is beguiling, if rarely apropos. But the actors are something.
  17. Easy A
    Lisa Kudrow does a dazzling turn as a guidance counselor who's a flickering mixture of sympathy and narcissism. But the movie belongs to Stone, that gorgeous, husky-voiced redhead.
    • 54 Metascore
    • 70 Critic Score
    The Witcher: Sirens of the Deep
    Sirens of the Deep accomplishes what it sets out to do, and it’s both the most confident and the most enjoyable Witcher story on Netflix in years.
    • 71 Metascore
    • 70 Critic Score
    The Spanish Prisoner
    Mamet has to learn to trust the camera more than he does; he has to stop trying to control everything with language; he has to let loose a little and just give in to the fluency, the ease, the free-flowing pleasure of making a movie.
  20. The Innkeepers
    A poky but blood-freezing throwback to the gothic horror films of the seventies, when ingénues moved tremulously down dark corridors without holding digital video cameras.
  21. Life During Wartime
    Solondz conjures a world that's rotting away from the inside, in which only the children--freckle-faced Dylan Riley Snyder and Emma Hinz--weep over the loss of moral authority. This might be some kind of goddamned masterpiece, but I'm not sure I want to watch it again to say for sure.
  22. Black Phone 2
    You might go nuts trying to figure out exactly how anything works in this movie. But in the right hands, this can be a strength too. It certainly enhances the overall sense of dread, since we’re now in a world whose rules haven’t been clearly defined.
  23. Retribution
    This is a paycheck movie, to be sure, the kind of direct-to-video title that gets a theatrical release because the lead actor still has star power. But he and his director have earned that paycheck. I’m excited to see what Liam Neeson will be stuck inside next.
  24. Let It Rain
    This wistful little film is at just the right temperature.
  25. Licorice Pizza
    Licorice Pizza — a movie as exasperating as it is delightful — could be described as an exploration of the unstable ground where Alana’s arrested development and Gary’s precociousness meet.
  26. Maestro
    Maestro somehow proves that Cooper is a director of genuine vision, even though it’s not a particularly successful movie.
  27. Stowaway
    The film’s central tension, between hand-wavingly vague science and the contagious immediacy of the characters’ emotions, becomes most pronounced during the final act, which is somehow both impressively suspenseful and frustratingly confusing. Still, Stowaway is never boring, even as it leaves you with a million unanswered space questions.
  28. Girlhood
    A fine example of what a filmmaker can achieve when she takes on a great subject and lets it play out with all the respect and attention it deserves.
  29. Pacific Rim: Uprising
    Uprising’s script isn’t great at jokes or nuance or originality, but it’s pretty good at shuttling us from one set piece to the next. And when those set pieces are good — as is the case with an early Jaeger fight in Siberia, or the gee-whiz silliness of the climactic battle in Tokyo — it’s easy enough to overlook.
  30. Immaculate
    Mohan seduces us with form while the central performance engages us on a more elemental level.
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