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. Moonlight
    Hype would bruise Barry Jenkins’s Moonlight, which is so delicate in its touch that the usual superlatives sound unusually shrill. It’s the gentlest, most suggestive of great films.
  2. First Girl I Loved
    The way the narrative starts and stops and doubles back mirrors the characters’ own confusion. We try to make sense of the story along with them — who did what, said what, when, and what did it really mean.
  3. Tower
    I love when non-fiction filmmakers stretch the form and attempt, with as much honesty as they can muster, to put us in the middle of the events they describe. They give us stunning hybrids like "Waltz With Bashir," "Persepolis," and, now, Tower.
  4. Certain Women
    Certain Women turns out to be a study in women’s uncertainties, in the experience of pain that leads not to action but acceptance. It’s a slow go — but you get there.
  5. The Accountant
    The action-thriller The Accountant is laughable, but when you’re not laughing at it, you’re laughing with it. It’s enjoyable enough.
  6. The Girl on the Train
    A filmmaker has a feel for this kind of storytelling or doesn’t, and the people behind The Girl on the Train don’t.
  7. 13th
    In the main 13th makes connections that haven’t been made in a mainstream documentary before.
  8. Deepwater Horizon
    My only serious complaint about Deepwater Horizon is that it’s not quite the muckraker I’d hoped for.
  9. American Honey
    If you think LaBeouf is a joke, you need to see him here. There’s wildness there, but acting centers him. He’s magnetizing.
  10. The Magnificent Seven
    The Magnificent Seven has the trappings of a classic Western and it hits its marks. All of Fuqua’s movies hit their marks — even sadistic formula junk like "The Equalizer." But there’s no grandeur in its images or generosity in its soul. I don’t think Fuqua ever loved Westerns. And by the time this movie ended, I’d forgotten why I do.
  11. Bridget Jones's Baby
    Although it’s patchy and gives off an air of trying too hard, the movie is surprisingly funny.
  12. Snowden
    Stone is so intent on making Snowden an icon that he scrubs him of his nuances, his individuality.
  13. Sully
    Hanks and those scenes in the cockpit make the movie worth seeing, in spite of the dumb melodramatics. But only just.
  14. The Light Between Oceans
    Here, the material is already melodramatic — the characters are at the mercy of seismic forces — and Cianfrance’s direction comes off as wildly overwrought.
  15. Southside with You
    The movie is charming even when it’s stilted, and it’s often stilted.
  16. Don't Breathe
    There isn’t a single false scare. There isn’t, come to think of it, a scare that doesn’t set up another scare.
  17. Florence Foster Jenkins
    It’s a wobbly, uneven, ultimately wonderful film — its unevenness befitting its title character, who we come to love despite her loopy lack of awareness of her own deficiencies.
  18. Pete's Dragon
    After half an hour or so of ... stutter steps, Pete's Dragon starts working on you, much like those gold standards of the boy-and-his-otherworldly-friend genre, "E.T." and "The Iron Giant."
  19. Hell or High Water
    This is the kind of Western in which we know there will be blood but pray there won’t be, because the violence is bound to be gratuitous, absurd, with a needless finality. Hell or High Water is a rare humanist Western: Finality is the true villain.
  20. Suicide Squad
    The visuals in the final battle have some charm: They reminded me of early Tsui Hark Hong Kong extravaganzas like Zu: Warriors of the Magic Mountain and A Chinese Ghost Story (which he produced). But there was passion in those HK pictures, along with acrobatic wire-work. Promiscuous CGI makes even the miraculous seem ho-hum.
  21. Jason Bourne
    As an actor, Matt Damon has too much integrity to pretend he can multitask to that advanced degree and still be, you know, a fun person. So he turns his face into a mask of stoicism and gives the dullest performance of his career.
  22. Indignation
    Schamus is the former head of Focus Features, and seeing how he directs (this is his debut, though he has been Ang Lee’s collaborator for decades), I suspect he chose the company’s name. His vision is 20/20 plus.
  23. Lights Out
    Bello is an excellent actress and makes Sophie’s anguish credible, although she can’t rise above the material.
  24. Author: The JT LeRoy Story
    That Feuerzeig can navigate this hall of mirrors so cleanly and effectively is positively supernatural.
  25. Absolutely Fabulous: The Movie
    It’s as if the film is taking after its own heroines: aspiring to something bigger than it should, and too often looking awkward in the process.
  26. Star Trek Beyond
    It’s better to have a well-made, unapologetic action-adventure like this one than a creepy stab at replication.
  27. Don't Think Twice
    It’s funny and inspiring and harsh and depressing. It’s steeped in existential dread. I don’t know how Birbiglia pulled it off, but he gets the minutiae of an improv-comedy show thrillingly right while using the form to build a kind of allegory of the corrosive effects of capitalism.
  28. Sand Storm
    Ultimately, this is a tale of a mother and daughter trapped in a cycle of yearning and despair. It’s a lovely, deeply affecting film.
  29. Captain Fantastic
    As the father-in-law, Langella has one of those thankless antagonist roles — the rigid, killjoy patriarch — that older actors take for the paycheck and almost never pull off. As usual these days, he’s remarkable.
  30. Café Society
    It’s an unusually warm world, full of helpful wealthy people and friendly faces. That’s the conundrum. It’s too shallow to nourish the spirit of a man like Bobby. But it’s too rich to leave.
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