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. Enola Holmes
    Bonham-Carter is somehow both perfect for the part of Mother Holmes and, unfortunately, wasted. Perhaps we’re merely being set up for future adventures, in which these characters will presumably play greater parts.
  2. My Friend Dahmer
    It would be misleading to call My Friend Dahmer “entertaining,” but I got off on its fuzzy sense of dread, its poker-faced ghoulishness.
  3. Come True
    There are only a couple of jump scares in Anthony Scott Burns’s Come True — mild ones at that — but the movie’s elusive sense of menace lingers for days, weeks, possibly forever. That’s quite an achievement for a film whose premise isn’t particularly novel.
    • 68 Metascore
    • 60 Critic Score
    A Quiet Place: Day One
    The don’t-speak values of the series, faithfully preserved by Sarnoski and beautifully expressed by Nyong’o, are still welcome in a Hollywood landscape that would prefer to drown audiences in sound. But if you repeat it enough, a bold new approach to multiplex thrills becomes just more noise.
  5. X2: X-Men United
    The best new addition to the corp is Alan Cumming’s Nightcrawler.
  6. Paranormal Activity
    I’ve never seen a movie that so cunningly exploits our anticipation.
  7. Theater of War
    As a onetime dramaturg and Brechtian, I enjoyed the chin-wags and the glimpses of Streep in rehearsal--especially her quivering admission that she can't bear the thought of anyone seeing her process.
  8. No Time to Die
    Amid the grit and the attempted emotional catharses and the sturm-und-drang, there is an actual Bond movie in there. No Time to Die is fun, but only when it dares to be.
  9. Kumiko, The Treasure Hunter
    Directed by David Zellner from a script he wrote with his brother, Nathan, the film has its tender mercies, as well-meaning Minnesotans attempt to reach out to this preoccupied Japanese woman with almost no English.
  10. Rafiki
    Its lead protagonists and their endless reserve of raw, bittersweet chemistry are Kahiu’s greatest asset.
  11. Just Mercy
    Jordan has a great face for doubt and inner conflict. There’s a quizzical, nervous quality to him — which is also why when he does action movies, he’s so wonderfully unpredictable — and you can sense his devotion to justice clashing with his genuine fear.
  12. The Place Beyond the Pines
    The segments are essentially monodramas, so sketchily written that the big moments feel less like recognizable human behavior than recognizable screenwriter overreaching.
  13. Beatriz at Dinner
    Beatriz at Dinner may not stick the landing, but its central clash between healers and destroyers maintains its choke hold long after the credits have rolled.
  14. Star Wars: Episode III - Revenge of the Sith
    Lucas is a brilliant technician but a poor philosopher, and his lurchingly thought-out rendering of futuristic politics prevents the entire series from achieving the greatness to which it aspires. (You don’t make anything this big, for this long, without aiming for the planet Masterpiece.)
  15. Superman
    There’s a lot about how we complicate and obfuscate what should be obvious goods, such as saving the lives of children. But the film’s approach isn’t ham-fisted, and it makes room for gleefully fun stuff, too.
  16. Fracture
    What makes Fracture hum is the way Hopkins bares his teeth, twitches his nostrils, and trains his shiny pinprick Lecter eyes on his co-star.
  17. Departures
    It will resonate with anyone who has ever buried a loved one and struggled to reconcile the myriad emotions--grief, anger, helplessness. Which is to say, everyone. And yet out of this premise comes glop. Departures needed a little more work in the morgue--like cutting to the bone.
  18. People Places Things
    We know these characters are going through a lot, even if we don’t always see it. And so, this short, ramshackle, shrinking movie manages to stick with you.
  19. The Italian Job
    An elaborate techno-heist thriller, The Italian Job features some spectacular chase scenes, but for a change, the people doing the chasing are also worth watching.
  20. Never Look Away
    The actors are good, but their lovemaking has no raw edges, no messiness. Deschanel lights them like sculptures — art objects — while Richter saws away to serenade their transcendent oneness. It’s Middlebrow Realism, comrades.
    • 68 Metascore
    • 70 Critic Score
    Jurassic Park
    Spielberg does deliver; he delivers thrills with all his genius for the mechanics of movement and the psychology of fear.
  22. Neighbors
    That very unknowability, which hampered so many Efron performances in the past, turns out to be his most humanizing trait, and Neighbors’ secret weapon.
  23. War Dance
    For these kids to sing and dance with all their hearts, they need to go to a place in themselves that should be closed down forever. The glories of War/Dance are torturously won, and all the more glorious for it.
  24. Noah
    It’s Aronofsky’s least personal work. So you get a fat dose of conventional melodrama with your Old Testament: It’s the antediluvian "Gladiator."
  25. Crimes of the Future
    Seydoux may exude voluptuous sensuality, and Stewart may be performing a whispery, dystopian take on a sultry librarian, but the film itself has an aloof, clinical quality. What interests it is not the potential of our physical forms for pleasure and revulsion, but their inevitable failure.
  26. The Unbearable Weight of Massive Talent
    In its broad strokes, The Unbearable Weight of Massive Talent is a fairly by-the-numbers action comedy, one that sometimes wears Cage’s presence like a talisman against the bad juju of slipshod storytelling. But the talisman works because the film never loses sight of its touchingly nutty premise and because Cage remains a compelling actor.
  27. Black Widow
    That it feels like it’s half at war with its title character, bringing her firmly to Earth (until she, like Bond in Moonraker, has to make her way to a high-altitude villain’s lair) and insisting on emotional coherence from her personal history, is its most interesting quality, though it’s maybe not as revolutionary as it first seems.
  28. Whip It
    Page is softer than in "Hard Candy" and "Juno." Without Diablo Cody comebacks, she’s even more marvelous.
  29. Z for Zachariah
    The descent into a tepid thriller of sexual jealousy slowly negates the abstract, almost metaphorical quality of this film — and it ultimately undoes the spell cast by that mesmerizing first half.
  30. Problemista
    The best parts of Problemista, which is a charming film without ever becoming more than semi-successful, bend the world through his perspective with the help of some Michel Gondry–esque DIY Surrealism.
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