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. Synecdoche, New York
    It's heartbreaking how rich this failed project is, with enough poetry for several great movies, but not enough push for one.
  2. Charlie Wilson's War
    Philip Seymour Hoffman carries the movie. As the CIA operative who hates Communists and his myopic superiors in equal measure, he has a wily, don’t-give-a-shit drive that makes you wish he’d been in Baghdad in 2003.
  3. The Stanford Prison Experiment
    It is remarkable, however, that The Stanford Prison Experiment works as well as it does, and for as long as it does. Crudup and the young cast (particularly Angarano) deserve much of the credit.
  4. The Armstrong Lie
    The chronology is confusing at times, but the film is never not fascinating.
  5. The Idea of You
    As Solène, Hathaway gives a particularly lovely and vulnerable performance. She’s radiant as a woman reconnecting with big, swooping emotions, and reminding herself that those feelings are not the exclusive territory of the young.
  6. Fear Street Part One: 1994
    Fear Street Part 1: 1994 is a nasty, effective slasher.
  7. The Last Duel
    The Last Duel is full of incident and historical detail, and its universe is a complicated one — but it seems the script, by its very nature, has ingeniously done all the necessary underlining for us. Even as it pretends to add complexity and context, it simplifies and focuses.
  8. 2 Days in Paris
    The movie should be seen with a large, responsive audience--the better to live with it in the moment instead of worrying about where it’s going.
  9. Juliet, Naked
    It’s everything a mainstream rom-com should be but no longer is — literate, unpredictable, full of bustling tangents.
  10. The Business of Strangers
    Channing's formidably good -- a career woman in extremis -- but the movie, which was written and directed by Patrick Stettner, otherwise unfortunately resembles a product of the Neil LaBute Finishing School.
  11. Jay Kelly
    The movie has absorbed its actor’s vibe. It looks great, and it ambles along pleasantly, rarely veering too far into the dramatic or the emotional; moments of tension or insight are often defused with a laugh or some other odd narrative distraction. But by the end, it gets you anyway.
  12. Haywire
    Soderbergh tends to get one big idea - a thesis idea - per film and stick with it even when a touch more flexibility would help. Here it's that non-kinetic camera, which he's so wedded to that parts of the film seem underenergized, like a cheap seventies or early eighties picture you'd catch at two in the morning on Cinemax's tenth most popular channel.
  13. Fresh
    Like a lot of movies these days, Fresh feels like it was conceived through its themes first and then written to bolster those ideas, rather than from the perspective of character or story.
  14. Zi
    Zi is fascinating, at times even rapturous.
  15. Annette
    I suspect that, if nothing else, this astoundingly beautiful picture will stand the test of time.
  16. Chappaquiddick
    Chappaquiddick is somehow both cynical and deeply inquisitive about the morals of every character involved.
  17. A Late Quartet
    I was happy watching these actors, happy going behind the scenes of a sober classical music ensemble instead of another druggy rock group, happy hearing Beethoven for a couple of hours. The movie is haut-bourgeois to the bone, but so am I: Let's hear some chamber music and have a little laugh and a cry!
  18. Open Range
    Costner is always at his best when he’s a little ornery, and Duvall is the same way. His grizzled performance is so thoroughly in character that he even chews as if it were 1882.
  19. The King of Staten Island
    The King of Staten Island shrinks Davidson down a little too much, to the point where his pathos and humor doesn’t blend with but actively gets obscured by his immaturity.
  20. Kubi
    Kitano has conjured a universe of such incredible and casual nastiness that we yearn for some nobility and loyalty, or even some modicum of decency.
  21. The Ides of March
    It's tempting to praise The Ides of March as a realistic depiction of how low we've sunk. But that would mean accepting the second-rate writing and third-rate melodrama and incredible shrinking characters.
  22. Tesla
    Bizarre, bewitching film.
  23. Lock, Stock and Two Smoking Barrels
    Lock, Stock and Two Smoking Barrels is in the scabrous mode, and I like it better than "Trainspotting" -- it doesn't pretend its shenanigans are revolutionary.
  24. The Perks of Being a Wallflower
    That's the feeling Stephen Chbosky captures in The Perks of Being a Wallflower, his exquisite adaptation of his best-selling YA novel about a Pittsburgh high-school freshman who doesn't fit in and then all of a sudden does, for a spell.
  25. Tom at the Farm
    Tom at the Farm, adapted by Dolan and Michel Marc Bouchard from Bouchard’s own play, has the outward trappings of a genre piece. And as such, it’s fairly suspenseful. But at heart, it’s still very much an Xavier Dolan film – ragged, explosive, and often moving.
  26. 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.
  27. Long Shot
    I generally like Rogen a lot but this performance is bad — worse than it even seems because of the drain it is on the movie.
  28. Freaky
    Freaky, an unabashedly gory but also oddly sweet feature from Christopher Landon, is a riff on slashers that really owes more to the meta-horror trend than it does to any of the original films that inspired it.
  29. The Legend of Ochi
    For all the visual vividness, we have very little actual sense of this land, or the people who live there. Yes, The Legend of Ochi looks amazingly, impressively real, but it’s populated by non-characters pursuing a nothing story.
  30. Furious 7
    Furious 7 kicks the biggest and hardest, but it’s far from the best. Lin has handed the keys to James Wan, the cunning horror director of "Saw" and "The Conjuring," and though the thrill isn’t gone, the finesse is.
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