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. Dumplin'
    On its surface, Dumplin’ is a slight, charming comedy about beauty pageants and learning to be yourself, but watch closely enough and you might see some of the new moves it brings to an otherwise predictable routine.
    • 61 Metascore
    • 70 Critic Score
    Rush Hour
    The movie is no more than a well-produced confection designed for quick payoff in the big cities, but it's pretty consistently funny.
  3. Dumb Money
    The pleasant surprise of Dumb Money is that it’s such an effective entertainment, even if it oversells the revolutionary impact of what it’s depicting.
  4. Where Do We Go Now?
    Although the film's why-can't-we-all-get-along story line and even some of its quirk-laden pit stops feel familiar, the very texture of what we're seeing seems to change from one moment to the next, resulting in an occasionally breathtaking uncertainty.
  5. On the Rocks
    On the Rocks isn’t a great movie, but it’s one overflowing with feelings that it tries to squash into something tidier.
  6. The To Do List
    The To Do List feels fresh and strange and wondrously new. It shouldn’t, but it does.
  7. Quasi
    The flaws are part of the overall effect — spontaneous and human. The reason Broken Lizard seems to keep making cult movies is because when you watch them, you feel like you were there when they made it. Broken Lizard is all of us.
  8. The Peanuts Movie
    Somehow, this Peanuts feels familiar, even cozy. I can’t make any great claims for it, but it feels like the return of an old friend.
  9. Gone Baby Gone
    Casey Affleck has never had a pedestal like the one his brother provides him, and he earns it. His Patrick is pale and raspy, with a slight grogginess that gives him an astounding vulnerability--and makes his bursts of temper shocking.
  10. Zootopia
    What saves this big-budget cartoon behemoth is its modest, old-fashioned storytelling.
  11. The Killer
    It skips the florid romanticism, the thick atmosphere, the grand mythmaking, opting instead for a breezy, silly modesty. It’s fun, ridiculous, and deliriously violent in its own right.
  12. Coffee and Cigarettes
    What unites everything is Jarmusch’s playful, hang-dog absurdism.
  13. Flow
    The pleasures of Flow come from the expressiveness of its animals, whose personalities come through so distinctively that, blessed absence of celeb voices aside, it becomes a fun game to start casting the actors who would play each type if they were human.
  14. Alexander
    As one of the few movies around not pushing state-of-the-art animation or Jude Law, Alexander is a damn good date movie.
  15. Shine a Light
    My favorite rock-concert movies, Jonathan Demme’s "Stop Making Sense" and "Neil Young: Heart of Gold," are organic: They chart a miraculous path from sound to soul. Scorsese stays on the outside, as befits his temperament and his subject. Yet there is, amid the whirligig spectacle, a spark of connection.
  16. The Girl with the Dragon Tattoo
    David Fincher's American remake of The Girl with the Dragon Tattoo adds nothing to the previous adaptation, but it's certainly the more evocative piece of filmmaking.
  17. Where God Left His Shoes
    The acting, the on-the-fly atmosphere (the film was shot quickly), and Leguizamo's increasingly urgent hustle are deeply evocative, but parts of the movie are almost too painful to endure.
  18. Leaves of Grass
    Part goofy drug comedy, part shocking bloodbath. It’s a riot of tones and genres, but unlike that other recent hybrid, "Pineapple Express," the parts add up to something larger.
  19. 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.
  20. Plane
    The violence is visceral and presented with just enough authenticity to make you quiver. The context, however, is unreal enough that you don’t have to think too hard about it. You weren’t supposed to be thinking anyway.
  21. The Pursuit of Happyness
    Conrad's last film, the underrated "The Weather Man," was a parade of miseries, too, but the protagonist (Nicolas Cage) didn’t move very fast in the throes of his existential crisis, and the palette (it was Chicago in winter) was glacial. Here, those crazy San Francisco hills give the movie a lift, and Muccino frames it all airily, with a glancing touch.
  22. Paradise Now
    The terseness of a thriller, the clarity of a documentary, and a mixture of high drama and low humor.
  23. The Road to Guantanamo
    The filmmakers have done their job brilliantly: The Road to Guantánamo is yet more lousy PR for the infidels.
  24. The Courier
    The Courier is a serviceable espionage drama and history lesson, but whenever these two actors are onscreen together, it approaches the sublime.
  25. Charlie Wilson's War
    Philip Seymour Hoffman carries the movie. As the CIA operative who hates Communists and his myopic superiors in equal measure, he has a wily, don’t-give-a-shit drive that makes you wish he’d been in Baghdad in 2003.
  26. Seabiscuit
    Watching this movie, you get the feeling that the Depression existed so that Seabiscuit could be memorialized.
  27. Full Battle Rattle
    The film is freaky, amusing, and sickening in equal measures—part fly-on-the-wall vérité, part multiple-perspective Altmanesque tragicomedy.
  28. Anyone But You
    It would be silly to call Anyone But You smart, but it has a knowing quality that allows it to confidently navigate some of the more familiar aspects of the rom-com.
  29. Ad Astra
    James Gray’s space opera Ad Astra is so eerily, transfixingly beautiful that I want to purge from my mind its resolution.
  30. Wolfs
    It is an unabashed platform for basking in the rapport of its two leading men, who are in familiar and fine form as a pair of hypercompetent cleaners, and that makes it a consistently enjoyable watch even when the pacing gets a little slack.
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