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 Emoji Movie
    It is one of the darkest, most dismaying films I have ever seen, much less one ostensibly made for children.
  2. Brigsby Bear
    It elicits more than a few excruciating laugh-out-loud moments, but it’s also tragic and vulnerable — not to mention frequently unpleasant.
  3. Landline
    It’s a light musing on adulthood and monogamy and sisterhood, washed in Pavlovian period nostalgia. The revelations are gentle, but worthwhile.
  4. Dunkirk
    What Nolan plus IMAX can do is go big. Spitfire swerving, boat tippings, men dropping to the sand as planes scream by — it doesn’t get any better. That first shot of men on a street in a shower of paper on which their deaths are foretold — brilliant. Somewhere inside the mess that is Dunkirk is a terrific linear movie.
  5. 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.
  6. Valerian and the City of a Thousand Planets
    As a mogul, Besson doesn’t worry about pleasing his corporate masters. He and his visual effects supervisor, Scott Stokdyk, can expend all their energy on topping themselves and making each other laugh. The movie is like a wave that makes you want to yell, “Cowabunga!”
  7. Wish Upon
    A deeply silly midsummer lark that makes up for the fact that it’s about nothing by being incredibly entertaining.
  8. Lady Macbeth
    August Wilson knew that, which is why his plays resonate far beyond melodrama. So does Lady Macbeth. It eats into the mind with its vision of evil as a contagion that transforms victims into oppressors.
  9. War for the Planet of the Apes
    War for the Planet of the Apes manages to be both alienating and sappy, and the biblical finale seems to come from a different universe altogether. It’s an awesome, dull movie.
  10. A Ghost Story
    Even at its most self-conscious, there’s something lovable about A Ghost Story.
  11. Spider-Man: Homecoming
    The breeziest, most convivial Marvel movie in ages.
  12. The House
    All these performers are given decent setups, but the script loses interest in anything that starts to look like a comedic through line.
  13. Nowhere to Hide
    Probably that’s the most hopeful thing in the film — that and the spare and very beautiful guitar soundtrack by Gaute Barlindhaug and Ciwan Haco. No one can make sense of what is happening to this and other families. But they must film it.
  14. Transformers: The Last Knight
    The Transformers movies are a favorite object of critical scorn, and narratively, The Last Knight remains barely coherent. But it’s more fun than "Age of Extinction," though both movies are so drunk on money and effects they accidentally go weird.
  15. The Little Hours
    The movie is not camp. It’s deliciously deadpan sex farce played by some of the deftest clowns in the English-speaking world. The more matter-of-fact it is, the more screamingly funny.
  16. Baby Driver
    As he proves yet again in his thrillingly syncopated heist movie Baby Driver, the 43-year-old U.K.-born Edgar Wright is just about the perfect 21st-century genre director. He has a fanboy’s scintillating palette — flesh-eating zombies, righteous vigilante cops, stoic bank robbers in sunglasses — without a fanboy’s lack of peripheral vision.
  17. Maudie
    Sally Hawkins doesn’t rise above the film’s conception, but she makes it work.
  18. All Eyez on Me
    All Eyez on Me is rarely more than a faithful adaptation of the rapper’s Wikipedia entry, so fixated on name-checking every footnote of Shakur’s public life that there is no space to explore the experience of the man himself.
  19. The Book of Henry
    It does not suffice to call The Book of Henry bad; it’s nonfunctional, so poorly conceived from the ground up as to slip out of the grasp of the usual standards one applies to narrative film. It might be admirable if it wasn’t such torture to watch.
  20. Rough Night
    Rough Night, which is like an episode of Broad City that got a blowout and smoked a pound of primo studio notes, tries to have it both ways. It wants to be a character-based lost-weekend romp, but keeps forcing itself toward increasingly ridiculous and self-consciously naughty set pieces.
  21. It Comes at Night
    The cast functions brilliantly as individuals and as a unit, each in his or her own world but linked near-telepathically to the movements of the others. Like, come to think of it, a family.
  22. My Cousin Rachel
    My Cousin Rachel is a fascinating hybrid. It uses clunky devices out of a 19th-century melodrama, but its subject is modern: mistakes of perception and of metaphor. It’s about the myopia of the male gaze.
  23. The Mummy
    The Mummy is not your usual lousy movie. It has been made with skill and hits its marks. But those marks are so low and so brazenly mercenary that it doesn’t feel like much of an achievement. It’s not involving.
  24. Beatriz at Dinner
    Beatriz at Dinner may not stick the landing, but its central clash between healers and destroyers maintains its choke hold long after the credits have rolled.
  25. The Rider
    In telling the story of a disappearing slice of America, Zhao has created a portrait of resilience, and the bonds that last even after the rodeo’s over.
  26. The Exception
    The superb English stage director David Leveaux keeps the pacing taut while creating space for his actors to work their magic.
  27. Wonder Woman
    The only grace note in the generally clunky Wonder Woman is its star, the five-foot-ten-inch Israeli actress and model Gal Gadot, who is somehow the perfect blend of superbabe-in-the-woods innocence and mouthiness.
  28. Baywatch
    It’s the smart-ass nerd’s Baywatch. The movie is okay, though, if you don’t mind manic pacing and icky dick jokes.
  29. How to Talk to Girls at Parties
    The script is frantically trying to build a whole world when a modest house would do.
  30. You Were Never Really Here
    Cinematically, it’s undeniably gripping, a tightly wound contraption of nervous energy, grief, and gore. But it’s in service of a story that’s been told countless times before, and it’s not clear where Ramsay’s usually singular point of view is in play.
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