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. 22 July
    Just like the families of the victims in the film who feel nauseous at the prospect of making a celebrity out of Breivik and spreading his toxic ideology, I feel a little queasy at the chilling, captivating portrayal of him by Anders Danielsen Lie. I feel uneasy being “captivated” by any of this, period.
  2. Changing Lanes
    More entertaining than it has a right to be. It's pulpy and preposterous, and yet it gets at a real truth.
  3. The Pink Cloud
    The Pink Cloud is so good at portraying our pandemic reality that it becomes harder to discern its other, subtler concerns. I was impressed, agitated, terrified, depressed by this movie — but I also couldn’t help feeling like I had maybe not ultimately seen the film its director wanted me to see.
  4. The Harder They Fall
    The picture may not fully cohere, but it has an infectious energy all its own. The Harder They Fall is a mess, but it’s a fun mess.
  5. Infamous
    Neither movie (Capote/Infamous) gives you the whole picture, but it's fun to see them both and rearrange the pieces in your head.
  6. Star Trek Beyond
    It’s better to have a well-made, unapologetic action-adventure like this one than a creepy stab at replication.
  7. Like Crazy
    Like Crazy has a lively syntax and could, in an ungrateful mood, be tagged as slick. But Doremus gets the tempos right.
  8. The Hunger Games
    Watching The Hunger Games, I was struck both by how slickly Ross hit his marks and how many opportunities he was missing to take the film to the next level - to make it more shocking, lyrical, crazy, daring.
  9. A Housekeeper
    Berri is very good at bringing out his characters' emotional contradictions so that we seem to be discovering them right along with Jacques and Laura.
  10. Casino Jack and the United States of Money
    Gibney does finally kick the focus off Abramoff to bemoan the legalized-bribery system that’s the rule, not the exception.
  11. Class Action Park
    Class Action Park tries with only partial success to capture the dissonance between the funny war stories told about that hazardous site and how awful and tragic it was that young people lost their lives there.
  12. Applause
    As much of her (Steen) as there is, you'll want more.
  13. Pierrepoint
    Pierrepoint is worth seeing for Shergold's attention to process and for all the ghoulish details.
  14. Crazy, Stupid, Love
    The script, by Dan Fogelman, is unusually and gratifyingly bisexual - i.e., it boasts scenes from both the male and female points of view!
  15. Deepwater Horizon
    My only serious complaint about Deepwater Horizon is that it’s not quite the muckraker I’d hoped for.
  16. Lamb
    By the time the final act rolls around, Lamb approaches the idea that there’s a price that must be paid with a shrugging diffidence rather than impending doom. It’s such an underwhelming conclusion to a film with such a compelling start.
  17. Fighting with My Family
    Merchant is more brutally honest than most sports movies — or any kind of rising-star movie, for that matter — about failure, and it makes Fighting With My Family better than it needs to be. The entire cast is a pleasure, particularly the dynamo Pugh.
  18. End of Watch
    There's nothing in David Ayer's cop drama End of Watch that you haven't already seen, but the film has moments so riveting that you might not care too much.
  19. Apocalypto
    Apocalypto turns into the best "Rambo" movie ever made. The worrisome part is that Gibson doesn't think he's making a boneheaded action picture. For him, torture and vengeance are the way of the world. This is Gibsonian metaphysics.
  20. Smile
    Smile has such a visually powerful concept that it might take a while before you realize the movie is blowing it.
  21. Borat Subsequent Moviefilm
    Borat 2 may not hit quite as many shocking comic highs as the first Borat, but it probably coheres more as a film — ironic, given that it appears to have been written, produced, and edited in record time, during a global crisis — and it also manages to walk a fine line between offense and revelation.
  22. The Adventures of Tintin
    Everything he did in live-action movies with rolling boulders and runaway convoys he does bigger and better - by a factor of ten - in every frame. At the end of two hours, my jaw ached from grinning.
  23. The Conjuring
    The Conjuring succeeds because of all that anticipation of dread things to come. The damned thing works you so well that you may even consider leaving halfway through, for fear you'll have a heart attack.
  24. The Kindergarten Teacher
    Lapid’s thrilling use of the camera, the way his unbalanced frame and his imaginative staging work with the precision of his story, results in something new and genuinely unnerving.
  25. The Homesman
    For much of its running time, The Homesman doesn’t quite seem to know where it’s going. But once it actually gets there, it attains a hardscrabble nobility.
  26. Thunderbolts*
    Thunderbolts* recaptures some of the magic of the early Marvel productions, when they felt like some alchemical phenomenon of corporate entertainment, and not just slop. The secret, which should have been obvious, is taking pleasure in the people these movies put on screen, rather than just treating them as marketing materials for future installments.
  27. The East
    The magnetic Alexander Skarsgard is the leader, Benji, a soft-spoken dreamboat, ever-direct but with a haunted quality, with something in reserve. Ellen Page gives a Lili Taylor–worthy performance (high praise) as a suspicious, abrasive young woman.
  28. Monster House
    The movie might be scary for small kids--but good scary, with goose-bump-inducing frames, witty repartee, and three resourceful kid protagonists.
  29. Black Mass
    Johnny Depp makes a valiant stab at the part, but even with his hair thinned and lightened and his face hardened, Depp remains Depp: I never forgot I was watching a big star doing an impersonation. It’s as if the spirit of a psychopath like Bulger resists the camera. Or maybe the movie isn’t imaginative enough to penetrate his shell.
  30. The Hateful Eight
    You wonder what he has up his sleeve in The Hateful Eight, but gorgeous as that sleeve might be, what’s up it is crap. The movie is a lot of gore over a lot of nothing. I hope that won’t be Tarantino’s epitaph.
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