New York Magazine (Vulture)'s Scores

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For 3,957 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 0.6 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: 2,217 out of 3957
  2. Mixed: 1,377 out of 3957
  3. Negative: 363 out of 3957
3957 movie reviews
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  1. The Good Dinosaur
    The resulting film is amiable, pretty, and charming in all the right ways — even if it ultimately settles for a fairly typical tale of a late bloomer finding his way.
  2. Creed
    Movies don’t always have to be “how things are.” When they’re as warm and rousing as Creed, they can be “how we want to make things.”
  3. Democrats
    It truly is a movie about politics, and it’s among the more mesmerizing ones you’ll see — even if you know very little about Zimbabwe itself.
  4. Man Up
    Even a second-rate farce like Man Up can be a jolly pick-me-up. Its momentum alone made me very happy.
  5. Goodnight Mommy
    Goodnight Mommy is a very disquieting, very suspenseful film, but proceed with caution.
  6. Mustang
    Mustang breathes new life into the old trope by reconnecting it with the elemental horror that drives it. These aren’t just body snatchers; they take your soul, too.
  7. Legend
    Hardy, it seems, is an ecosystem of love and hate and betrayal and madness unto himself. The rest of Legend just can’t keep up.
  8. Carol
    Haynes has calibrated the film so precisely to Blanchett’s talents that he couldn’t have rendered her better with animation.
  9. The Hunger Games: Mockingjay - Part 2
    The final film adaptation of Suzanne Collins’s dystopian Hunger Games YA novels, Mockingjay — Part 2, is a potent antiwar saga: bleak, savage, and very modern in the depiction of an unholy union between political manipulation and showbiz.
  10. Entertainment
    Entertainment wears its contempt too arrogantly, fulsome in its emptiness.
  11. By the Sea
    You keep watching not just because she and Brad and the Mediterranean are beautiful, but also because small, surprising details start to take on great importance.
  12. Trumbo
    Trumbo is a film that at times can’t seem to decide what it wants to be. At its worst, it’s musty and awkward; at its best, it’s irreverent and funny. Unfortunately, it settles for the former more than the latter.
  13. The Peanuts Movie
    Somehow, this Peanuts feels familiar, even cozy. I can’t make any great claims for it, but it feels like the return of an old friend.
  14. SPECTRE
    The new James Bond movie Spectre makes a satisfying final chapter to the four-film saga of Daniel Craig’s 007, even if that saga turns out to be less than the sum of its parts.
  15. Spotlight
    This tight, relatively low-key, step-by-step procedural has a stronger impact than any horror movie.
  16. Brooklyn
    Brooklyn doesn’t quite capture Brooklyn, but its ambivalence about being Irish is gloriously epic.
  17. Scouts Guide to the Zombie Apocalypse
    The gags are mostly puerile and uninspired — like the film was dreamed up by a bunch of tired, wired 13-year-olds; it has their insistence but little of their invention.
  18. The Armor of Light
    Far beyond the courage of its convictions, The Armor of Light also has the intelligence and grace to embrace its contradictions. It’s a beautiful, conflicted piece of work.
  19. Love
    This is not a rich, novelistic tapestry of humanity; this is a solipsistic world, enclosed on all sides by the director’s ego. But the entrapment is vivid and poignant. Look past all the beautiful people fucking, and you realize that Love is sad in all the right ways.
  20. Our Brand Is Crisis
    Our Brand is Crisis hits a lot of clunky notes and the end is unforgivably cornball, but it’s still one of the liveliest political black comedies I’ve seen in a while. The pacing is lickety-split, the talk is boisterous, and the cast is all aces.
  21. Knock Knock
    The film collapses, because it doesn’t convince us on a basic level: The characters are driven by convenience, not behavior, and their actions seem like they’ve been manhandled into place to make the plot work.
  22. (T)error
    For all of (T)error’s topicality and its thriller-like qualities, what makes the film is Sutcliffe and Cabral’s compact, complex portrait of Saeed — paranoid, chatty, mired in self-loathing, but also oddly reflective.
  23. The Forbidden Room
    The Forbidden Room is often maddening, occasionally beautiful, and ultimately unforgettable.
  24. Trash
    A misguided attempt to mix together social realism, children’s adventure, and political thriller, Stephen Daldry’s Trash never sits still long enough to be any of those things.
  25. Suffragette
    Suffragette is slick and efficient, but also diffuse and formless; it’ll pass the time but it fails to engage.
  26. Tokyo Tribe
    Beneath the goofy plot, the tacky fashions, the fronting rappers, and the exploding bodies, there’s an undeniable earnestness to Tokyo Tribe. It’s the craziest film you’ll see this year, but it’s also — dear God, am I really saying this? — one of the sweetest.
  27. Bone Tomahawk
    Bone Tomahawk is terrifying and strange, to be sure, but it’s the old-fashioned veneer that makes it beautiful.
  28. Paranormal Activity: The Ghost Dimension
    If only Ghost Dimension spent more time in the ghost dimension and less time in the people dimension, we might have had something.
  29. I Smile Back
    The movie improves on Koppelman’s ungainly novel but is generally dreary and light on insight. Director Adam Salky steers clear of the usual addiction-movie clichés, but he doesn’t have anything to replace them with, so it’s as if all the connective tissue is gone.
  30. Rock the Kasbah
    The air of mourning might have worked as a counterpoint to the silliness if Mitch Glazer’s script had smart gags, but as one-liner after one-liner misses its mark, you begin to feel sorry for Murray, who’s really too old to be playing a guy who has a little daughter (not granddaughter) and likes to get kinky with Kate Hudson as a raucous, Dolly Parton–style hooker-businesswoman.
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