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. The King's Speech
    It's a prizewinning combination, terribly English and totally Hollywood, and Firth is, once more, uncanny: He evokes, in mid-stammer, existential dread.
  2. 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.
  3. Up
    By all means, see Up in its 3-D incarnation: The cliff drops are vertiginous, and the scores of balloons--bunched into the shape of one giant balloon--are as pluckable as grapes.
  4. Shirkers
    Shirkers is a joy, but it also feels haunted, as if Tan had the unique opportunity to unearth a perfectly preserved clone of her younger, more idealistic self.
  5. Poor Things
    Poor Things is ultimately ugly — spiritually and narratively, which curdles even its aesthetic splendor.
  6. Pictures of Ghosts
    Pictures of Ghosts is so lovely and alive that, if anything, it only reassures you that movies aren’t going anywhere.
  7. Black Panther
    Unusually grounded for a Marvel superhero epic, and unusually gripping.
  8. The Human Voice
    The Human Voice is all about the muddied lines between the fabricated and the genuine, and about how much a performance can be divorced from the sincere feelings that might be undergirding it.
  9. Brooklyn
    Brooklyn doesn’t quite capture Brooklyn, but its ambivalence about being Irish is gloriously epic.
  10. The Lord of the Rings: The Two Towers
    Jackson has a genuine epic gift: Few filmmakers have ever given gross-outs such resplendence.
  11. L'Enfant (The Child)
    The Dardennes' most accessible film. Their handheld camera catches tiny flickers of emotion that few filmmakers come near; you feel as if you're watching the movements of a soul.
  12. Poetry
    It comes together neatly, perhaps too neatly to be … poetry. But it's not prosaic, either. It has a lucid grace.
  13. Newtown
    It confronts, but it doesn’t exploit. It’s about one of the most horrifying events of recent years, and yet it’s defined by its austerity, its sense of quiet. It is as much about the complex, dull horror of memory as it is about the brute, sharp horror of that day.
  14. If Beale Street Could Talk
    Jenkins and cinematographer James Laxton’s palette is rich and warm, its colors deepened by a score by Nicholas Britell that ranges from a distant, forlorn trumpet to a string quartet in which the players dig in as if they’re having their own dialogue between hope and despair. The close-ups are immense, the emotions archetypal.
  15. Birdman or (The Unexpected Virtue of Ignorance)
    Birdman is the very definition of a tour de force, and Iñárritu’s overheated technique meshes perfectly with the (enjoyable) overacting—the performers know this is a theatrical exercise and obviously relish the chance to Do It Big. But what comes out of the characters’ mouths is not so fresh.
  16. Can You Ever Forgive Me?
    What is on paper a small-time heist film in the vein of the Coen Brothers or "Breaking Bad" is ultimately a cover for a more observant and relatable portrait of loneliness.
  17. Wolfwalkers
    Kids will be enchanted, adults will be enraptured. It’s somehow light as air yet overwhelming, both ineffable and unforgettable.
  18. Of Men and War
    Of Men and War’s compassion is matched only by its relentlessness.
    • 87 Metascore
    • 80 Critic Score
    The Long Goodbye
    If you can have another movie myth shattered in high style, with love as well as wit, The Long Goodbye is for you. [29 Oct 1973, p.80]
    • New York Magazine (Vulture)
  20. Pain and Glory
    Pain and Glory is at once the gentlest and most emotionally naked movie Pedro Almodóvar has ever made.
  21. Russian Ark
    It’s a hyper-aestheticized meditation on the meaning of history, visually astonishing, dramatically stilted. No masterpiece, but quite a feat (and quite effete).
  22. Gomorrah
    Gomorrah isn't memorable. The structure feels random, and the characters remain at arm's length. Next to HBO's "The Wire," which depicted an enormous financial ladder and also brought to life the characters on every rung, the movie is small potatoes: excellent journalism, so-so art.
  23. Familiar Touch
    Chalfant is one of those acclaimed theater actors who has never found the same showcase for her talents onscreen, and the delicacy of what she does in this role is astounding.
  24. To Be and to Have
    The emotional honesty of this movie rescues it from sentimentality. To Be and to Have is about more than a dedicated teacher and his pupils; it’s about how difficult and exhilarating it is to grow into an adult.
  25. Return to Seoul
    Freddie is a live wire given form, flesh, sinew. She’s a woman defined by what she refuses to be, and Chou appropriately refuses to offer any heartwarming, simple resolutions to the dilemmas marking her life.
  26. In the Mood for Love
    In the Mood for Love has novelty value, I suppose, and plenty of pretty camera moves, but it's not really a movie you can warm to.
  27. Mulholland Dr.
    Lynch needs to renew himself with an influx of the deep feeling he has for people, for outcasts, and lay off the cretins and hobgoblins and zombies for a while. Mulholland Drive is the product of David Lynch, Inc.
  28. Mission: Impossible – Fallout
    His sixth Mission: Impossible movie, Mission: Impossible — Fallout, isn’t the best of the bunch (that would be number four, Brad Bird’s Ghost Protocol), but it’s easily the second-best and certainly the Cruise-iest, meaning it’s nearly as entertaining as it is strenuous. Which is a mighty high bar!
  29. Ma Rainey's Black Bottom
    Ma Rainey postures toward being an actor’s showcase, but its storytelling — and its actorly pitfalls — prohibit that from being the reality.
  30. Robot Dreams
    Watching Robot Dreams, we find ourselves reflecting on how our own lives have changed as we’ve grown: the friends we’ve left behind but haven’t forgotten, the cities that have transformed around us, the wisdom we’ve accrued, and all the ways in which we’re still slightly damaged from all that living.
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