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. Praying with Lior
    Praying With Lior engages us on so many levels it transcends its middle-class Jewish milieu.
  2. Rustin
    All in all, one walks away from Rustin enchanted with Domingo’s performance, while feeling that a character as larger than life and momentous as Bayard Rustin surely deserves a film less dutiful and more inspired.
  3. The Good Thief
    Bob is a marvelous creation--a faker who is also the genuine article. He’s the perfect hero for a movie about the world as one big scam.
  4. Monsters and Men
    Monsters and Men, then, functions more as a lightly fictionalized photo essay than a narrative film — which is okay, it just means that it feeds more off timeliness than character or art, and there are obvious limitations to that.
  5. Last Days in the Desert
    [A] haunting, beautiful movie.
  6. The Captain
    It’s too bleak to laugh at and too absurd to cry over. That it’s true adds another insanity-inducing element.
  7. Forgetting Sarah Marshall
    But even with bits that are crazily inspired, Forgetting Sarah Marshall is depressing. The Apatow Factory is too comfy with its workers’ arrested development to move the boundary posts. If they could find scripts by female writers that dramatize the other side of the Great Sexual Divide, it might be a place of joy--and embarrassed recognition--for everyone.
  8. Dead Man's Wire
    It has plenty of gritty ’70s atmosphere (facial hair! Radio DJs!) and feels grounded in its time and place, but it also has a purposeful whiff of timeliness that tells us it’s as much about today as it is about 1977.
  9. Avatar: The Way of Water
    The Way of Water makes clear that Cameron no longer needs to leave the confines of this (virtual) extrasolar moon in the Alpha Centauri system to create something closer to the heart. He can bend Pandora to his will, and now he’s bent it to make what might be his most earnest film to date.
  10. Summer of Sam
    It's all been done before, and better.
  11. Snow Angels
    Scene by scene his (David Gordon Green’s) new film, Snow Angels, isn’t terrible. Parts of it are amusing, and there are wintry images that eat into the mind. But it’s one of the most disjunctive things I’ve ever sat through.
  12. The Blackening
    The Blackening gets halfway there, and has the benefit of some gifted performers and some very good ideas. It just never really figures out how to be a movie.
  13. Thirteen Days
    I much prefer the whacked-out, Dr. Strangelove-ish brand of political-apocalypse film to all this straitlaced you-are-there dramaturgy, which seems a throwback to the early sixties not only in time but in spirit. But what Thirteen Days sets out to do it does admirably.
  14. Almost Peaceful
    The film was adapted from a 1993 novel by Robert Bober, who drew on his own childhood experiences, and as it unwinds, one begins to appreciate Deville's desire to see things work out well for these people.
  15. Robot and Frank
    Robot & Frank, like its protagonist, is charming enough to get by with the sleight-of-hand. Its irresponsibility redeems it - it's a raspberry blown against the dying of the light.
  16. Vox Lux
    As a story of popular art born in the crucible of violent trauma, it’s a fantastic, wildly ambitious idea; as a filmed drama with human characters, it’s confoundingly executed at every turn. Vox Lux is a failure, but one I can’t stop thinking about.
  17. In Bruges
    For In Bruges to click, McDonagh needed either to get more real or more fake.
  18. 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.
  19. Brigsby Bear
    It elicits more than a few excruciating laugh-out-loud moments, but it’s also tragic and vulnerable — not to mention frequently unpleasant.
  20. Bolt
    As Bolt, John Travolta is inspired: His voice still cracks like an adolescent’s, and he has the perfect dopey innocence.
  21. T2 Trainspotting
    It doesn’t have the youthful kick of its predecessor, but given the pervasiveness of addiction and suicidal ideation and despair it’s amazingly buoyant.
  22. This Is the End
    Some of that fun is infectious. For a while. Maybe 45 minutes. But when actors look as if they’re having a better time than you are, the buzz wears off fast. You turn into a wallflower at an especially obnoxious party.
  23. The Door in the Floor
    Bridges redeems the clichéd role of spoiled artist-sot. He's flamboyantly entertaining, which is more than this otherwise dreary movie deserves.
  24. Sound of My Voice
    Batmanglij keeps the movie even-keeled, full of medium close-ups, underscored by ambient plinks and shimmers, with nothing to break the trance until a last scene that upends everything we thought we knew.
  25. Steel City
    It has vivid characters, a strong sense of place, and a free-floating hopelessness that never precludes the possibility of meaningful action.
  26. Fahrenheit 9/11
    More often than not, Moore goes for the guffaw, and as enjoyable as that can be, it falls short of producing the kind of devastating, in-depth analysis that might really challenge the hearts and minds of ALL audiences, left and right. At the very least, this approach undercuts the effectiveness of Moore’s own case.
  27. An Ideal Husband
    Our familiarity with the actors, and their comfort in this period setting, lend the piece an unexpected air of naturalism.
  28. Cuties
    Cuties is not a blunt screed or a finger-wagging cautionary tale in either direction — which is one reason why anyone watching the film looking for clear messages about right and wrong is bound to be disappointed, maybe even outraged.
  29. Halloween
    Green’s Halloween doesn’t have the geographical simplicity — the elegance — of Carpenter’s. It’s a bit all over the place. But I love how he takes memorable images from the original and turns them on their heads.
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