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. Velvet Buzzsaw
    It’s clear between this and Nightcrawler that Gilroy and Gyllenhaal have some kind of gonzo chemistry. Even if Velvet Buzzsaw starts to sputter slightly after it’s made its point, it’s plenty exciting to witness the incredibly specific madness they whip up together.
  2. White Reindeer
    White Reindeer is a deliberately awkward little movie, and it’s a hard one to shake.
  3. Sicario: Day of the Soldado
    When Day of the Soldado truly wallows in violence, it does so exquisitely, with the kind of hopelessness that film violence, especially around this subject matter, should convey. But it also destabilizes any marketable attempts at heroism or character investment.
  4. The Outsider
    James Toback seems oddly nice in Nicholas Jarecki's delicious cult-of-personality documentary The Outsider.
  5. Send Help
    Raimi indulges Send Help’s gore and gross-out moments with the zest of someone returning to his cult-favorite roots. But when it tries to cast Linda as a figure who, in her own way, is just as uneasy as Bradley, the movie loses its nerve.
  6. Catch Me If You Can
    Breezily enjoyable but thin.
    • 61 Metascore
    • 70 Critic Score
    Lenny
    Tailored to a point rather than to comprehensive biography, its triumph is its touch upon the public nerve of our most private inhibition. [30 Dec 1974, p.86]
    • New York Magazine (Vulture)
  8. Encounters at the End of the World
    Midway through, an eerier theme creeps in, all the more powerful for Herzog's lack of insistence. By the "end of the world" he means the end of the world.
  9. Tully
    The title character in Tully, the third collaboration between director Jason Reitman and screenwriter Diablo Cody, doesn’t make her entrance until well into the film, after it’s established that the protagonist, Marlo (Charlize Theron), is moving from postpartum depression to postpartum desperation — and that’s when the movie enters uncharted territory and comes to life.
  10. All of Us Strangers
    There’s an admirable defiance to Haigh’s interest in characters who aren’t easy in their own sexual identities, who don’t feel in sync with queer culture, and who struggle with scars from the past and internalized shame that doesn’t go away just because it’s unreasonable.
  11. To All the Boys I've Loved Before
    Condor is a ready-made star, and Centineo rises to meet her, the adoring, throaty lunk any introverted teen dreams of coming around and melting away her shyness. Theirs is a teenage romance I can believe in, despite its ridiculously convoluted circumstances.
  12. A Ciambra
    The film treads familiar territory when it’s trying to carve cinema-worthy myth from its semi-fictitious protagonist’s life, but its more impressionistic, painterly moments are what feel truly fresh.
  13. Ned Rifle
    It’s an interesting idea, and the deep pall of suspicion that hangs over some of Ned Rifle is occasionally compelling. But the movie doesn’t exactly go anywhere.
  14. Please Give
    Holofcener’s plotting can seem casual (many characters, no speeches pointing up the themes, no conventional climaxes), but her dialogue is smart, an oscillating mixture of abrasiveness and balm, of harsh satire and compassionate pullback.
  15. 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.
  16. If I Had Legs I'd Kick You
    Some films make a point of not pulling away from their main character’s uglier moments. If I Had Legs I’d Kick You, brilliantly and suffocatingly, turns its unrelenting photography into a manifestation of Linda’s self-loathing, her anxiety so intense there’s barely room for anyone else in the frame.
  17. The Secret in Their Eyes
    It’s a cop movie that’s largely uninterested in cops, crimes, or criminals. And yet, despite all that, the film is at times an effective, evocative mood piece. The funereal pall of sorrow that hangs over everything these characters do has a strange, surprising pull.
  18. Paddington In Peru
    Even if it’s the weakest of the Paddington movies, it succeeds. The innate sweetness of the series carries it past figurative and literal rapids and into shenanigans involving bear carvings, a bear temple in the mountains, and a secret bear community.
  19. When Marnie Was There
    When Marnie Was There may start off a bit awkwardly, but it'll have you bathing in your own tears by the time it's over.
  20. 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.
  21. The Amazing Spider-Man
    I've saved the best for last: The love interest played by that throaty redheaded (here blonde) darling Emma Stone, whose blue eyes radiate so much intelligence that any actor on whom she trains them in adoration becomes an instant movie star.
  22. Thirteen Conversations About One Thing
    Arkin has a great and gentle feeling for small-time malcontents, and he knows how to make their woes our own. He does justice to the human comedy -- and redeems the movie.
  23. Zodiac
    What begins like your basic police procedural becomes more and more choppy and diffuse. To a point, that’s intentional: Zodiac was never caught, and Fincher aims to creep you out with the lack of closure.
  24. The Final Year
    The movie is barely an hour and a half but feels dense, and exhausting, as Barker skips among three protagonists who are up against a ticking clock.
  25. A Futile and Stupid Gesture
    It’s not particularly illuminating, but it’s far from futile.
  26. Michael Clayton
    Clooney is as good as he has ever been.
  27. The Party's Just Beginning
    A brutal, meandering depiction of a quarter-life crisis, Gillan’s script is staunchly resistant of silver linings or “it gets better” messaging.
  28. Edge of Darkness
    A meathead revenge picture, but it’s very satisfying. Director Martin Campbell, coming off "Casino Royale," has a style that’s blunt and bruising.
  29. Pride & Prejudice
    If only Knightley had a co-star equal to her here: The 1995 edition of Colin Firth, come to think of it, would have been perfect.
  30. The Death and Life of Marsha P. Johnson
    I hope the film inspires a new generation of amateur sleuths. Maybe — thanks to movies like The Death and Life of Marsha P. Johnson — a wish-fulfilling fictional scenario will come to pass in the real world, and the injustices of history will stand plainly in the living present.
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