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. Green Book
    On paper it sounds cringeworthy, but much of it is great fun. Mortensen is cartoonish in the most marvelous way.
  2. White Reindeer
    White Reindeer is a deliberately awkward little movie, and it’s a hard one to shake.
    • 69 Metascore
    • 60 Critic Score
    Rez Ball
    Crowd-pleasing cliché wins the day at the buzzer. But it’s not a blowout; the more singular side of the film keeps it close enough.
  4. Boy Erased
    Lucas Hedges has a difficult job — to portray a teenager whose best option is to reveal nothing of himself. The key is to make that lack of “reveal” an active rather than passive process, and Hedges does it with remarkable intelligence. His indecision is alive and moving.
  5. The Avengers
    The Avengers is both campy and ­reverential. Comic-Con nerds will have multiple orgasms. I had a blast.
  6. Venus in Fur
    Venus in Fur is both kinky and can pass as a form of self-flagellation. One additional, not-small thing: It allows him to demonstrate, with a minimum of means, his superb craftsmanship.
  7. Beirut
    In Beirut, Hamm still doesn’t have the outsize personality we associate with major movie stars — a lot of whom are lesser actors. But he has focus. He can think onscreen. He can make you watch him closely, trying to keep up with the wheels churning in his head. I think he has fully arrived on the big screen.
    • 69 Metascore
    • 30 Critic Score
    There's Something About Mary
    The general insensitivity of the atmosphere gets one down after a while. None of these people go together: Friends don't seem like friends, lovers don't seem like lovers. In brief, it's not enough just to have bad taste. You have to have talent, too.
  9. Bodies Bodies Bodies
    The appeal of the cast can’t change the fact that its members are playing incredibly soft targets instead of real characters.
  10. Joshua
    The line between eeriness and tedium is fatally fluid.
  11. The Piano Lesson
    When it succeeds, it’s impressive. But it also can’t hold a candle to Wilson’s original, and it can’t reconcile the fundamental tension between theater and film.
  12. 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.
  13. Rumours
    The danger of movies based on conceptual wit is that they will lose steam as things proceed and the filmmakers run out of ideas. Thankfully, Maddin and the Johnsons effectively develop their story — goofy and absurd though it may be — so that these constant digs at our ineffectual leaders do coalesce into something meaningful and alarming.
  14. The Trip to Greece
    The Trip films have a remarkable (and welcome) tonal consistency, and there’s plenty here of those lively, escapist elements that have made these movies so charming and irresistible (and such a comfort at this particularly bizarre moment in time).
  15. Chronicle
    Indeed, to even call Josh Trank's film a superhero movie seems wrong: Rather, it's about what the average teenage boy might actually do with superpowers - and there is very little heroism or villainy on display here. Chronicle's very lack of scope is its strength.
  16. 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.
  17. What They Had
    There’s raw power in Chomko’s writing, but so much scrupulousness and craft that you feel safe when the time comes to weep.
  18. Predestination
    If time-travel is your thing, you learn to shrug off inconsistencies. You debate chicken-egg questions over drinks or dope and mull over all the permutations. You graph it. You wish like hell you had a time machine. You savor every discombobulating, ludicrous, thrilling second of Predestination.
  19. The Last Winter
    Like his "Wendigo," the film has a lot of mumbo jumbo about ancient spirits revived and angered by human disrespect--the old Indian-graveyard paradigm, as clunky as ever. But the context is overpoweringly eerie.
    • 69 Metascore
    • 60 Critic Score
    Tenet
    Complexity for complexity’s sake is seemingly at the heart of Tenet. It is mostly entertaining but undeniably baffling: Many will return to its intricacies in order to make sense of it.
  21. Sunshine State
    The usual Sayles mix of torpor and talent prevails here.
    • New York Magazine (Vulture)
  22. O Brother, Where Art Thou?
    This time around, though, the Coens' usual arch deliberateness isn't quite as deliberate, and there's an appealing shagginess to some of the episodes and performances.... This is the Coen brothers' most emotionally felt movie, and that's not meant as faint praise.
  23. People Say I'm Crazy
    It’s a bracing antidote to the usual “Beautiful Mind”–style Hollywoodization of mental illness.
  24. Climax
    I was shocked to discover that I was actually … touched. Climax is a small miracle, and if this is Noé going soft (for him, of course), that might actually be a very good thing for the movies.
  25. Solitary Man
    It’s smoothly written and smartly paced, and Michael Douglas is riveting.
  26. The Birth of a Nation
    It's a beautiful, reflective film even as it is also a brutal, visceral one.
  27. The Death of Dick Long
    The Death of Dick Long becomes a symphony of stupidity. I say “symphony” because it’s multivoiced and overpowering. That’s part of the movie’s charm, too: You can feel your brain melting away as you watch it, and that’s not always a bad sensation.
  28. Huda's Salon
    Abu-Assad has made his share of films about the cruel absurdity of life under Israeli occupation, but here he lets all sides have it
  29. Femme
    Sex can be a rigid rubric of performance for some and a fluid experiment in expression for others. The friction between those two perspectives fascinates Femme, a volatile, sensuous revenge film in which the body and its desires don’t lie.
  30. Spider-Man: Far from Home
    The second half of Spider-Man: Far from Home is a single, scary, brilliantly sustained climax in which what’s real seems just as improbable as what isn’t.
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