New York Magazine (Vulture)'s Scores

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For 3,961 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: 2,220 out of 3961
  2. Mixed: 1,378 out of 3961
  3. Negative: 363 out of 3961
3961 movie reviews
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  1. Both Sides of the Blade
    There is something exquisitely grown-up about Both Sides of the Blade, which works its way up into a series of excruciating fights between Jean and Sara in which they talk and talk and wound one another terribly while failing to ever say what they really mean.
  2. The Farewell
    The little dramas and themes that emerge during the reunion of the film’s far-flung brood become, like a family, more than the sum of its individual parts, and an incredibly satisfying meal of a film.
  3. Melancholia
    The vision is as hateful as it is hate-filled, but the fusion of form and content is so perfect that it borders on the sublime.
  4. Winter's Bone
    For all the horror, it's the drive toward life, not the decay, that lingers in the mind. As a modern heroine, Ree Dolly has no peer, and Winter's Bone is the year's most stirring film.
  5. Actress
    One of the greatest documentaries I’ve ever seen.
  6. Peter Hujar's Day
    We’re watching a mundane spectacle of a mundane spectacle — a man in a room relating the mostly forgettable events of the previous day — but somehow, we’re also witnessing the arc of time within this quiet hour. So, no, the film is maybe not a doodle. There’s too much craft, too much care here for that. But it is a masterpiece.
  7. Late Marriage
    So intimate and sensual and funny and psychologically self-revealing that it makes most of what passes for sex in the movies look like cheap hysterics.
  8. Get Out
    Get Out is a ludicrous paranoid fantasy, but that doesn’t mean it’s not alive in the unconscious. Having it out there in so delightful a form helps us laugh at it together — and maybe later, when we’ve thought it over, shudder.
  9. Pride
    What a cast Pride has — some of the best famous actors in Britain and lesser-known younger ones that will (soon) take their place in the firmament.
  10. The Souvenir
    At her best — which is more often than you can imagine — Hogg convinces you that incoherence is the only honest way to tell a story with any emotional complexity. She spoils you for the overshapers, the spoon-feeders.
  11. Marcel the Shell with Shoes On
    Marcel the Shell With Shoes On is the most unassuming and delicate of movies, but don’t be shocked if it leaves you in ruins.
  12. They'll Love Me When I'm Dead
    With this documentary, Morgan Neville has made a movie about Orson Welles that would have transfixed the great master himself.
  13. About a Boy
    Sophisticated and nuanced, and every character is bursting with emotional contradictions.
  14. Midnight in Paris
    This supernatural comedy isn't just Allen's best film in more than a decade; it's the only one that manages to rise above its tidy parable structure and be easy, graceful, and glancingly funny, as if buoyed by its befuddled hero's enchantment.
  15. Locke
    I’m not crying “masterpiece” here. Locke is too contained, too well-carpentered, too self-consciously “classical.” But tours don’t come much more forceful. Once you’ve taken this 90-odd-minute drive with Tom Hardy, you’ll never forget his face.
  16. Buck
    Meehl, in her directing debut, is attuned to the rhythms of Buck, who's attuned to the horses.
  17. My Life as a Zucchini
    My Life As a Zucchini is a deft work of empathy, and unlike a few of its fellow animation Oscar contenders, it works on a more intimate scale, without a big message or master thesis to carry it to its conclusion.
  18. Costa Brava, Lebanon
    Akl and Clara Roqet’s script provides depth to these characters and immerses us in each of their perspectives and relationships — which shift along lines of blood and love.
  19. Goodbye Solo
    Like his protagonist, Bahrani never gives up on William; his camera never stops probing. He loves West's face, and he honors its mystery.
  20. The Agronomist
    Free speech isn't merely a shibboleth in The Agronomist. As embodied by Dominique, it's a fire-breathing force.
  21. Toy Story 4
    The film never quite lets us know what to feel. It’s an unnerving little movie, one that at any given moment might deliver a burst of feeling, or a big laugh, or a jump scare. It whipsaws you this way and that, and this sense of disorientation is new for a company whose work usually feels so carefully calibrated, so perfectly put-together.
  22. What They Had
    There’s raw power in Chomko’s writing, but so much scrupulousness and craft that you feel safe when the time comes to weep.
  23. A Thousand and One
    A Thousand and One is rich and complex overall, the saga of someone battling to build a family and a stable home with no real experience of what that looks like.
  24. Paddington 2
    The film gets progressively funnier and more delightful as it goes on; King layers plenty of good-natured comedy on top of each daring escape and chase scene, stretching probability and sometimes patience near the end, but each new hitch and escape feels like an act of invention.
  25. Our Land (Nuestra Tierra)
    That unnatural quality of drone footage, its ability to pull up off the ground and pivot as if you’re fiddling with Google Earth, is something Martel turns into an asset throughout the film,.
  26. The Green Knight
    The Green Knight is about someone who keeps waiting for external forces to turn him into the gallant, heroic figure he believes he should be. But at the film’s heart is a lesson that’s as timeless as any legend — travel as far as you like, but you’ll never be able to leave yourself behind.
  27. 28 Days Later...
    A first-rate zombie movie. The best tribute I can offer is that it makes you want to go out directly afterward and down some expensive single-malt scotch.
    • 87 Metascore
    • 90 Critic Score
    Caught by the Tides
    Jia’s recycling is not haphazard or mistaken. He’s an artist squeezing all the juice from his lemon: How many different ways can he show us that China’s development is leaving people behind? We also feel his confidence that Zhao, in every film, brings enough of herself to carry multiple characters. His reediting and reuse of her performances is a marvel.
  29. A Master Builder
    Gregory and Demme have turned A Master Builder into (pardon my invoking the name of a Strindberg work) a dream play, and have made it once more madly, bitingly, chillingly alive.
  30. Lincoln
    Lincoln is too sharply focused to deserve the pejorative "biopic" label. It's splendid enough to make me wish Spielberg would make a "prequel" to this instead of another Indiana Jones picture.
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